The New Records Vol. 21

T/k N» fanfc

A BULLETIN FOR THOSE INTERESTED IN RECORDED MUSIC

Issued Monthly by

H. ROYER SMITH COMPANY

“The World 9 $ Record Shop 99

I OTH & WALNUT STREETS .... PHILADELPHIA 7, PA., U. S. A.

VOL2I, NO. I

MARCH, 1953

By mail to any addrats
$1 par yaar

T HIS is the 241st issue of this little bulletin.

With it we begin the twenty'first volume.
Many of our readers have been with us since
Vol. 1, No. 1 (March 1933) and quite a few
of them have kept a complete file of all issues.
We know this because occasionally a copy goes
astray in the mail and they hasten to write for
another copy stating that their files are com'
plete except for that one number. We hope
that the present volume will prove as interest'
ing to these oldtimers as the previous ones.

During the last few months we have been
advertising The New Records in a number
of leading newspapers throughout the country
including The J^ew Tor\ Times , Chicago Tri'
bune, Los Angeles Times, Boston Herald, Phila '
delphia Inquirer, Detroit Free Press, Cleveland
Press, Minneapolis Star Tribune and 'Washing >
ton Times Herald. Hundreds of new subscrib'
ers have been secured by this means and we
take this opportunity of welcoming them with
the hope that they will continue to find our
little bulletin of value.

Last month we included a renewal blank
with each copy mailed, and so many renewals
were received that it has been impossible for
us to check our mailing list. We are, therefore,
carrying over all of our subscribers, whether
they renewed or not. We cannot continue this
practice beyond this month, so if you have not
as yet sent in your renewal, you should do so
at once in order that you will not miss any
issues.

BACK COPIES

We are continually receiving requests for
back copies of The New Records. Most of
the issues published during the last twenty
years are available. The price is 10c each. A
file of all of the available issues (at least 140
copies) is $5. These prices are postpaid within
U.S.A.

NEW LP RELEASES

Sorry, Wrong dumber. Agnes Moorehead, with
supporting cast. DIO" disc (*D'DL'6022) $3.35.
TNR Sept. ’47).

R. Strauss: Der Rosen\avalier (highlights). Tiana
Lemnitz (soprano), Kurt Bohme (bass), Saxon
State Orchestra — Kempe. IT 2" disc (*UR'URLP'
7062) $5.95. (TNR June ’51).

Mozart: Die Entfuhrung aus dem Serail (highlights).
Wilma Lipp (soprano), Walther Ludwig (tenor),
et al, with Chorus of Vienna State Opera and
Vienna Philharmonic Orchestra — Krips. IT 2"

disc (*L'LL'458) $5.95. (TNR Dec. '50).

Gounod: Faust (highlights). Geori'Boue (soprano),
Georges Nore (tenor), Roger Bourdin (baritone),
Ernest Frank (bass). Royal Philharmonic Orches'
tra and Chorus — Beecham. M2" disc (*V'LCT
1100) $5.72. (TNR May '49).

Verdi: Aida (highlights). Maria Caniglia (soprano),
Ebe Stignani (mezzo'Sporano), Beniamino Gigli
(tenor), Gino Bechi (baritone), Italo Tajo (bass),
Chorus and Orchestra of the Opera House (Rome)
— Serafin. M2" disc (*V'LCTT101) $5.72.

(TNR Mar. ’49).

Puccini: Tosca (highlights). Maria Caniglia (so*
prano), Beniamo Gigli (tenor), Armando Borgioli
(baritone). Chorus and Orchestra of the Royal
Opera House (Rome) — Fabritiis. IT 2" disc (*V'
LCTT102) $5.72. (TNR Jan. ’40).

Mendelssohn: Concerto in E minor. Op. 64. One
side, and Mozart: Concerto 7^o. 4 in D, K. 218.
Fritz Kreisler (violin) with the London Philhar'
monic Orchestra. 1T2" disc (*V'LCTT117)
$5.72. (TNR Dec. ’35 and Jan. ’40).

Popular Overtures and Dances. Columbia Broad'
casting Symphony — Barlow. IT 2" disc (*C'RL'
3030) $3.08. (Formerly single discs: see TNR
Vol. 8, No. 11; Vol. 9, Nos. 3, 7, 9; Vol. 10,
No. 3). r~

HIGH FIDELITY RECORDS

Below are listed several records that devotees of
high fidelity phonographs have found to make quite
thrilling demonstrations of their wide range equip'
ment. The musical value of these discs may or may
not be great, and no attempt has been made to make

MARCH

The Nw RfcWj

1953

the list all-inclusive; however, all are extended range
recordings which will bring out the best in a “hi'fi”
system :

Dancers of Bali. Gamelan Orchestra from the Vib
lage of Pliatan, Bali, directed by Anak Agung Gde
Mandera. M2" disc (*C'ML'4618) $5.45. (TNR
Feb. ’53).

The Great Barrelhouse Piano. Played on a nickel'
odeon. MO" disc (*SOT'1035) $4. (TNR Feb.
'53).

The Pipe Organ. (Vols. I & II). Michael Cheshire,
playing the Wurlitzer organ of the Richmond
(Va.) Mosque. 2'10" discs (*SOT'1050/1) $4
each. (TNR Feb. '53).

Selected Works of Varese. Various instrumental
groups conducted by Frederick Waldman. M2"
disc (*EMS'401) $5.95. (TNR Feb. '51).

Stravinsky: Petrouchka. L'Orchestre de la Suisse
Romande conducted by Ernest Ansermet. M2"
disc (*L'LL'130) $5.95. (TNR Feb. '50).

Respighi: The Pines of Rome. One side, and
Respighi: The Fountains of Rome. Orchestra of
the Vienna State Opera conducted by Argeo
Quadri. M2" disc (*WEST'WL'5167) $5.95.
TNR Mar. '53).

Saint-Saens: Symphony No. 3 in C minor, Op. 78.

Philharmonic'Symphony Orchestra of New York
conducted by Charles Miinch, with Eduard Nies'
Berger (organ). M2" disc (*C'ML'4120) $5.45.
(TNR Aug. ’48).

Rimsky -Korsakov: Scheherazade, Op. 35. Minne'
apolis Symphony Orchestra conducted by Antal
Dorati. M2" disc (*ME'MG' 50009) $5.95.
(TNR Oct. ’52).

Tschaikovsky: Symphony No. 5 in E minor, Op.

64. Minneapolis Symphony Orchestra conducted
by Antal Dorati. M2" disc (*ME'MG'50008)
$5.95. (TNR Oct. ’52).

Tschaikovsky: Symphony No. 6 in B minor, Op.

74. (“Pathetique”). Philadelphia Orchestra con'
ducted by Eugene Ormandy. M2" disc (*C'MD
4544) $5.45. (TNR Nov. ’52).

OVERTURES ON RECORDS

Our studio has been flooded with releases of over'
tures, waltzes and the like recently released by sev'
eral manufacturers. Due to severe space limitations
we cannot consider each issue separately; but be'
cause we feel that many of our readers would like
to know of the release of these extremely popular
items, we are listing them below.

Ponchielli: La Gioconda — Dance of the Hours.
And Ponchielli: La Gioconda — Overture. Or'
chestra of La Scala Opera conducted by Armando
La Rosa Parodi. 1'7" disc (0UR'UREP'l)
$1.58.

Verdi: Forza del Destino — Overture. One side, and
Donizetti: Don Pasquale — Overture. Orchestra
of La Scala Opera conducted by Armando La
Rosa Parodi. 1*7" disc (0UR'UREP'2) $1.58.

Auber: Fra Diavolo — Overture. One side, and
Rossini: II Barbiere di Siviglia — Overture. Or'
chestras conducted by Karl Elmendorff and Arthur
Rother. 1*7" disc (0UR'UREP'3) $1.58.

Strauss: 1001 Nights — Overture. One side, and
Strauss: 1001 Nights — Tenor Waltz. Herbert
Ernst Groh (tenor) with Chorus and Orchestra
of Radio Berlin conducted by Otto Dobrindt. 1*7"
disc (dUR'UREP'4) $1.58.

Strauss: Wiener Blut — Overture. One side, and
Strauss: Wiener Blut — Waltz and Duet. Traute'
Richter (soprano) and Sebastian Hauser (tenor)
with Chorus and Orchestra of the Berlin Civic
Opera conducted by Hans Lenzer. 1'7" disc
(dUR'UREP'5) $1.58.

Moussorgsky: Night on Bald Mountain. Berlin

Philharmonic Orchestra conducted by Leopold
Ludwig. 1'7" disc (0UR'UREP'6) $1.58.

Prokofiev: Love for Three Oranges — Suite. Sym'
phony Orchestra of Radio Berlin conducted by
Arthur Rother. 1*7" disc (0UR'UREP'7) $1.58.

Tchaikovsky: Swan Lake — Waltzes (Acts I & II).
Orchestra of the National Theatre (Prague) con'
ducted by Jaroslav Krombholc. 1*7" disc (0UR'
UREP'8) $1.58.

Berlioz: Roman Carnival Overture. L'Orchestre de
l'Association des Concerts Lamoureux conducted
by Jean Martinon. 1'7" disc (0UR'UREP'9)
$1.58.

Falla: Three-Cornered Hat — 3 Dances. L’Orchestre
de l’Opera'Comique (Paris) conducted by Jean
Martinon. 1'7" disc (0UR'UREP'11) $1.58.

Gounod: Faust — Ballet Music. L’Orchestre du
Theatre National de l’Opera de Paris conducted
by George Sebastian. 1*7" disc (0UR'UREP'12)
$1.58.

Prokofiev: Russian Overture, Op. 72. Berlin Phil'
harmonic Orchestra conducted by Hans Steinkopf.
1*7" disc (0UR'UREP'16) $1.58.

Lehar: Merry Widow — Overture. One side, and
Lehar: Gold and Silver Waltz. Zurich Tonhalle
Orchestra conducted by Franz Lehar. 1*10" disc
(*L'LD'9003) $2.95.

Offenbach: Orpheus in Hades — Overture. One side,
and Offenbach: La Belle Helene — Overture. Lon'
don Philharmonic Orchestra conducted by Jean
Martinon. M0" disc (*L'LD'9004) $2.95.

Suppe: Light Cavalry — Overture. One side, and
Suppe: Morning, Noon and Night in Vienna —
Overture. London Philharmonic Orchestra con'
ducted by Georg Solti. 1*10" disc (*L'LD'9005)
$2.95.

H. ROYER SMITH COMPANY

♦ Indicates LP 8»J$ rpm.
4 indicates 45 rpm.

MARCH

The New R ecords

1953

ORCHESTRA Uv>

Mahler: Symphony No. 5 in C-sharp minor. Three
sides, and Mahler: Symphony No. 10 in F sharp
— Adagio. Orchestra of the Vienna State Opera
conducted by Hermann Scherchen. 2' 12" discs in
album (*WEST-WAL-207) $11.90.

Last month Columbia reissued on LP the Mahler
Fifth under Bruno Walter (*C'SL'l7l), which in-
eludes as a coupling on the fourth side eight songs
sung by Desi Halban. The present set under Scher-
chen has more than a five years newer recording
technique. The interpretive approach of the corn
ductors is quite a bit different. Walter has a more
comprehensive view of the whole canvas and does
not give the sudden effects that Scherchen does.
Scherchen is more dramatic and generally more lucid.
The net result would seem to be a better survey by
Walter, but Scherchen is more meticulous. The score
hangs together better and is not as overblown under
Walter; it often has more momentary interest under
Scherchen. We cannot say which would appeal more
to the average music lover, because we doubt whether
most of them will be drawn to the work. The Mahler*
ites will have their own ideas about who does more
justice to this score. Mahlerites will find the coupling
in the Scherchen set highly interesting. It is the
Adagio of his 10th symphony, the first movement, at
least the one which Mahler designated as the first at
the time of his death. It is the only one written out
fully in the form of an orchestral score. This music
is interesting because it is a completely new departure
from Mahler’s traditional style.

The Fifth Symphony is purely symphonic, unlike
the three preceding ones which contain vocal sections.
It consists of five movements which, however, form
essentially three sections. The central section around
which the work is anchored is the third movement,
a very extensive Scherzo, which might best be
described as a study in various Landler rhythms. This
large-scale work uses a huge orchestral body in
individual clusters of sound in which the brass domi-
nates heavily. Westminster has recorded this work
splendidly, being among their best issues to date.

S.

Spohr: Symphony No. 3 in C minor, Op. 78.

Symphony Orchestra of Radio Frankfurt con-
ducted by Georg Schlemm. 1-10" disc (*UR-
URLP-5008) $4.75.

One of Spohr’s symphonies has finally found its
way to records, and many will now hear a Spohr
symphony for the first time. Our grandfathers heard
his symphonies frequently for they were performed
rather regularly until shortly after the turn of the
century. But Spohr is now rather passe and con-
sidered too sentimental. It is true that his thematic
matter was often not worthy of the skill used to
develop it. He was one of the founders of the
Romantic period in music and his influence on its

development was of the greatest importance. Noted
as a violin virtuoso and as a conductor, Spohr will
never have a prominent place as a composer. We
must think of him as one who contributed to the
general scheme of composition as it has developed,
but not as one of the major contributors of any era.

The thematic material of the Symphony 7^o. 3
is no gold mine, but as usual with Spohr, it is worked
over quite nicely, and there is a directness and
transparency which are pleasing. It is easy to listen
to, although it leaves no strong impression; it is
not over-wrought nor bombastic — in fact, it could
stand more fire and thunder in spots. It is just a
pleasant piece of music by a nice old gentleman. The
form of the work is conventional, four movements,
the weakest of which we think is the Scherzo be-
cause it is too heavy for a good contrasting scherzo.
Georg Schlemm and his orchestra provide a care-
fully prepared and convincing account of the score
played with conviction as well as polish. Reproduc-
tion is good, with a little of Urania’s string sizzle
in evidence at times. S.

Schubert: Symphony No. 4 in C minor (“Tragic”).
Mozarteum Orchestra of Salzburg conducted by
Wolfgang Freilassing. 1-12" disc (*ORFEO LP-
10) $5.95.

Schubert — arr. Weingartner: Symphony No. 7

in E. Vienna State Opera Orchestra conducted by
Franz Litschauer. 1-10" disc (*VAN-VRS-427)
$5.95.

Schubert: Symphony No. 9 in C (“The Great”)
(B. & H. No. 7). Three sides, and Haydn:
Symphony No. 88 in G. Berlin Philharmonic
Orchestra conducted by Wilhelm Furtwangler.
2-12" discs in album (*D-DX-119) $11.70.
Composed in Schubert’s nineteenth year, there
is little in the music to justify the composer’s own
subtitle “Tragic.” No jury of a hundred musicians
would guess the nickname on a hearing of the music.
The present recording of the Fourth brings out the
dash and vigor of this work with unflagging zeal.
It has not quite the solidity of Klemperer’s reading
(*VX-PL-7860), but it moves forward with con-
viction and is well played by the Mozarteum Or-
chestra. The reproduction is as bright and shrill as
we care to hear. The first side of our disc was not
pressed deeply enough (judging from appearances)
and tracked impossibly bad, but the second side was
fine. Better check your copy if you decide to get
one.

The Schubert Seventh Symphony , in E major, is
truly his seventh. It was written in sketch form in
the year 1821. In 1934 Felix Weingartner recon-
structed the score, leaving ^he second and third
movements untouched, and “tightening up” the
first and last (i.e., shortening them a little). When
you hear this work you can believe that it fits well
between the Fourth, Fifth, Sixth and the “Unfin-
ished.” It has more of the earlier symphonies than

••THE WORLD'S RECORD SHOP"

MARCH

1953

The New R ecords

of those which followed, but it unmistakably heralds
the later and greater works. In itself it is a beautiful
work which is worth some performances — more
than as a novelty or curiosity. The performance
offered here is a superb one and very well recorded.
This disc is well worth investigation.

The recording of the Schubert "Hinth is one of
the finest things Furtwangler has on discs, which
is saying a lot, for some of his recordings are among
the greatest. Any of Furtwangler's tendencies to
tamper, tinker, or otherwise be capricious with the
score have been entirely done away with in this
magnificent reading! Here the conductor is clearly
at the service of the composer, and we have an
interpretation that must rank with the greatest of
this work. This reading has not the bite and wallop
of Toscanini, nor quite the searing intensity of
Walter, but it has a fusion of everything good
and just in a performance of this work that gives it
a wonderful balance. The reproduction is full and
rich, making this a set to be highly recommended.
The Haydn 88th gets model treatment also to com'
plete this well nigh perfect album, which features
as well orchestral playing of the highest order by the
renowned Berlin Philharmonic. S.

First Chair. Philadelphia Orchestra conducted by

Eugene Ormandy. 1-1 2" disc (*OML'4629)

$5.45.

CONTENTS: Clarke: Trumpet Voluntary in D
(Samuel Krauss, trumpet); Griffes: Poem for Flute
and Orchestra (William Kincaid, flute); Handel:
Concerto No. 3 in G minor for Oboe and Strings
(Marcel Tabuteau, oboe); Phillips: Concert Piece
for Bassoon and Strings (Sol Schoenbach, bassoon);
Weber: Adagio and Rondo for Violoncello and
Orchestra (Lome Monroe, violoncello); Chabrier:
Larghetto for Horn and Orchestra (Mason Jones,
French horn); Beethoven: Romance T^o. 2 in F for
Violin and Orchestra , Op. SO (Jacob Krachmalnick,
violin); Weber: Concertino for Clarinet and Or'
chestra (Anthony Gigliotti, clarinet).

An orchestra which is generally acknowledged as
the greatest in the world, in fact, the greatest the
world has ever known, is necessarily made up of
some fine instrumentalists. The Philadelphia Orches'
tra contains many members who are great soloists,
but the first chair men who are the leaders of their
respective sections and the orchestral “soloists" are
among the great virtuosi of our day. Flutist William
Kincaid and oboist Marcel Tabuteau are among the
best known performers of their instruments. Con'
certmaster Jacob Krachmalnick and 'cellist Lome
Monroe are young artists who have recently joined
the orchestra; but their proficiency as demonstrated
on this disc gives evidence of what sterling perform'
ers they are. All of the artists who perform in this
concert turn in performances that would be hard
to better. We could not single out any one for
special mention; all are superb. Ormandy's accom'

paniments add the final touch which makes this disc
truly outstanding, and one that belongs in every
library of fine records. This record is sold for the
benefit of The Philadelphia Orchestra Pension Fund.

While the musical selections offered are display
pieces for the solo instruments, the choice of this
music is so good that it does not result in a monot'
onous series of technically tricky pieces of question'
able merit. Every selection is a masterwork in its
form and there are a number of schools represented
from Clarke and Handel through contemporary
styles. Such a choice as the Beethoven Romance,
rather than a fireworks display for violinistic prow'
ess, contributes to the effectiveness and musical value
of this program. We would mention the exception'
ally fine reproduction and microphone placement
which gives each instrument a faithful character and
good perspective with the accompaniment. S.

Respighi: Fountains of Rome. One side, and
Respighi: Pines of Rome. Orchestra of the Vienna
State Opera conducted by Argeo Quadri. IT 2"
disc (*WEST'WL'5167) $5.95.

Ottorino Respighi (1879T936) was indisputably
one of the greatest masters of the orchestra since
Berlioz. Richard Strauss is generally considered to
be Berlioz' successor; but, for this reviewer he lacked
the temperament, the volatility necessary to achieve
greatness in this field.

The two tone poems recorded here are a direct
result of Respighi's love affair with the Eternal City,
an affair that lasted twenty'three years. The Foun'
tains of Rome consists of a musical description and
impression of four fountains: those of the Villa
Giulia, the Trevi, the Triton and those at the Villa
Medici. It is a very poetic work, sensuous, colorful,
evocative and always musically interesting. Without
resorting to direct imitation Respighi penned pas'
sages that suggest the passing of cattle at dawn,
iridescent bubbles at the Triton fountain, Neptune's
triumphal procession at noon (Trevi) and deep
melancholy at dusk near the Villa Medici. The piece
is masterful, both as to music and as to sound.

I Pini di Roma, again in four sections, was written
eight years after the Fountains, in 1924. The pines
treated musically are those at the Villa Borghese,
near a catacomb, the Gianicolo and along the Appian
Way. Much the same treatment is used here as in
the fountains but this is a more robust work; there
is less poetry. There are several interesting passages,
notably the use of an early Christian hymn tune and
the unusual practice of scoring for the phonograph;
Respighi calls for a record of the song of a night'
ingale in the third section (Pines of the Gianicolo).

Both scores call for large orchestras and in I Pini
di Roma six buccine are employed in addition to the
usual forces. For the curious it may be pointed out
that a buccine is an imitation of an old type Roman
wind instrument. All this has been recorded in brih
liant fashion by Westminster engineers. The use of

• to dl eaten LP 88^ rpm.
0 Indicate! 45 rpm.

H. ROYER SMITH COMPANY

PAGE 4

MARCH

"The N ew Records

1953

variable pitch (of the record grooves) has enabled
them to produce a record that is, beyond a doubt,
the finest yet made. This is largely due to the higher
volume level possible and the result is startling in
its realism. Quadri’s direction is imaginative and
sensitive. The Vienna State Opera Orchestra sounds
better than this reviewer can ever recall. All in all
an astonishing record, worth owning on all counts:
artistically, musically and technically. W.

Rachmaninoff: Symphonic Dances, Op. 45.

Rochester Philharmonic Orchestra conducted by
)( Erich Leinsdorf. M2" disc (*C'ML-4621) $5.45.
This is a recording of prime importance. Here
we have a splendid performance of Rachmaninoff’s
last composition. Symphonic Dances, Op. 45 dates
from 1940 and was first played by the Philadelphia
Orchestra under Ormandy on 3 January 1941. Since
that time it has appeared on the programs of many
important orchestras both here and abroad. It was
dedicated to Ormandy and the Philadelphia Or'
chestra.

This attractive work is not really a series of dances
but rather a composition in three movements in
which the spirit of the dance abounds throughout.
The first movement is marked Non allegro; the
second with its wait* theme is an Andante con moto;
and the Finale, after a slow start, becomes an Allegro
vivace. It is a work of wide variety and one that
immediately gains the attention of the listener and
holds his interest to the last measure. You may not
care for it, but you certainly cannot say that it is
banal or dull.

Early Italian Music. Leopold Stokowski and his
Symphony Orchestra with Brass Choir and A
Cappella Chorus. 4'7" discs in box (0V'WDM'
1721) $5.14. M2" disc (*V'LM'1721) $5.72.
CONTENTS: Concerto Grosso in D minor
(Vivaldi); Tu Mancavi a T ormentarmi, Crudelissima
Speranza (Cesti); Nocturne, Marche (Lully); Gag'
liardi (Frescobaldi) ; A doramus Te, O bone Jesu
(Palestrina); Canzon Quarti Toni a 15, In Ecclesiis
Benedicite Domino (Gabrieli).

The purists may say that the music on this LP
disc is more Stokowski than Early Italian and we
are not going to argue the point. We are going to
say that we have not heard a record in a long, long
time that has contained such a wealth of highly
enjoyable music — music that is always in the best
of taste — music with enough variety that it never
becomes monotonous. After each selection, one
awaits the next piece with high anticipation and is
sorry when the record side comes to an end. There
is no question but that Stokowski has spent endless
hours of research in selecting the compositions for
this record, nor that in his orchestrations and ar'
rangements he has hit a new high in musical crafts'
manship of this character. We urge the musically
discerning not to miss this very delightful disc.

Debussy: Prelude a PApres-midi d’uii Faune.
One side, and Dukas: L’Apprenti Sorcier. Phila'
delphia Orchestra conducted by Eugene Ormandy.
MO* disc (*C'AAL'26) $2.85.

Two selections that have always been popular with
Philadelphia Orchestra fans are included on this
modestly priced disc — it should go to the head of
the best sellers list in a hurry.

CHAMBER MUSIC AMt

Thomson: Stabat Mater. (Sung in French). Jennie
Tourel (mezzo'soprano) with the New Music
String Quartet. And Thomson: Capital, Capitals.
(Sung in English). Joseph Crawford, Clyde S.
Turner (tenors); Joseph James (baritone); Wib
liam C. Smith (bass); and Virgil Thomson
(piano). One side, and Harrison: Suite for
Violoncello and Harp. Seymour Barab (violon'
cello) and Lucille Lawrence (harp). And Harri-
son: Suite No. 2 for String Quartet. New Music
String Quartet. M2" disc (*C'ML'4491) $5.45.
Copland: Sextet for String Quartet, Clarinet and
Piano (1937). David Oppenheim (clarinet),
Leonid Hambro (piano) and the Juilliard String
Quartet. One side, and Kohs: Chamber Con-
certo for Viola and String Nonet (1949).
Ferenc Molnar (viola) and string nonet. M2"
disc (*C'ML'4492) $5.45.

Piston: Sonatina for Violin and Harpsichord.
Alexander Schneider (violin) and Ralph Kirk'
patrick (harpsichord). One side, and Cage:
String Quartet (1950). New Music String Quar'
tet. M2" disc (*C'ML'4495) $5.45.

Columbia proposes to release a batch of record'
ings each year of American music; this group is part
of the first release. A committee consisting of Virgil
Thomson, Aaron Copland, Henry Cowell, William
Schuman, and Goddard Lieberson has selected the
music to be recorded and they have sought to avoid
duplication of works already available to the public
in recorded form. Chamber music has been chosen
as the present repertory of the project, because that
is the field that has hitherto received the least atten'
tion from recording companies. They have made
available a remarkable group of scores which will
add to a sadly deficient section of the recorded
music of our country. Whether or not the public
will acquire these records remains to be seen, but
we would predict a very modest commercial success
for this venture.

If the music at hand does nothing more, it prob'
ably mirrors only too faithfully the times in which
we live. You can supply your own definition of what
this portrays, but it would come under the general
heading of changing, uncertain, and somewhat
troubled times.

We cannot discuss all of these works at length.
One thumbnail, or in'a'phrase, opinion of them runs
something like this: Copland is good, worthy, and

• indicate! LP 88 */j rpm.
0 indicate! 45 rpm.

PAGE 5

"THE WORLD’S RECORD SHOP"

MARCH

The N ew TTecords

1953

interesting music; Piston is all of that and even
more pleasing to the ear; Kohs has something to say
and does it convincingly; Harrison is clever and
pleasing to the ear in a studied and modern way;
Thomson (who generally appeals to us very much)
is off the beam in this pair of peculiar works; and
Cage is in another world entirely — we could not
make head nor tail out of this — maybe they played
it with the score upside down.

Whatever the opinions of the music, Columbia
is to be congratulated and heartily praised for its
effort on behalf of American music. The performances
are all excellent, and faithful to the composers' wishes
we are told, and the reproduction is of the best.

S.

CONCERTO

Beethoven: Concerto No. 2 in B-flat, Op. 19.

Wilhelm Backhaus (piano) with the Vienna Phil'

harmonic Orchestra conducted by Clemens Krauss.
MO" disc (*L'LS'630) $4.95.

Beethoven: Concerto No. 5 in E-flat, Op. 73

("Emperor"). Walter Gieseking (piano) with
the Philharmonia Orchestra conducted by Herbert
van Karajan. I'll" disc (*C'ML'4623) $5.45.
Beethoven: Concerto No. 5 in E-flat, Op. 73

("Emperor"). Denis Matthews (piano) with the
Philharmonia Orchestra conducted by Walter
Siisskind. M2" disc (*C'RL'3037) $3.08.

The LP lists are rather light in entries on the
Beethoven Second Concerto, which is really the first
one the master wrote, although it was published
after the First (and after a revision). Backhaus and
Krauss are a strong team, and when it comes to
their doing Beethoven, the results are apt to be
first rate. In this work they are excellent and produce
what is easily the best of the recorded versions.
They manage to keep this work in the proper
framework. It is a welhproportioned and beautifully
executed performance, with fine reproduction.

Columbia is in the odd position of competing
with itself with the latest pair of entries in the
“ Emperor ” listing, which now contains nearly a
dozen versions of widely varying merit. Columbia
offers the same program notes and the same accom'
panying orchestra, but two different types of repro'
duction as well as different soloists in this dual re'
lease. An over'all impression is that Gieseking
enjoys brighter, probably newer, reproduction, while
Matthews has typical English recording of the full'
blown variety. Matthews is by no means a poor
second when it comes to interpretation and per'
formance. Gieseking is more authoritative, but
Matthews conceives the work on a larger scale.
These are both good performances, but neither is
better than HorowitZ'Reiner (*V'LM'1718), Serkin'
Ormandy (*C'ML'4373), or Curzon'Szell (*L'LL'
114), among those with modern recording; or
Schnabel of an earlier era (*V'LCT'101 5). There

are so many from which to make a choice that in
most cases, one will pick his favorite artist. We
recommend Horowitz, Serkin, or Curzon as the best
of the many available. S.

Mozart: Concerto No. 10 in E-flat, K. 365.

Amparo and Jose Iturbi (pianos) with RCA Vic'
tor Symphony Orchestra conducted by Jose Iturbi.
Four sides, and Mozart: Concerto No. 20 in D
minor, K. 466. Jose Iturbi (piano) conducting
the RCA Victor Symphony Orchestra. 4'7" discs
in box (0V'WDM'1717) $5.14. M2" disc

(*V'LM'1717) $5.72.

Both of these concertos are remakes of previous
versions which the Iturbis made for Victor some
years ago. This time we have the RCA Victor
Orchestra as the accompanying instrument, with
Jose keyboard'conducting for both works. Iturbi has
always favored Mozart and has acquired something
of a reputation for performing the more popular
Mozart works. His performances are usually marked
by fine finger dexterity, clear, clean playing with a
cool, bright manner. There is little caressing senti'
ment and plenty of percussive tone for Mozart. It
is a type of playing which appeals to some folks,
but which many Mozartians do not find attractive.
Serkin, Schnabel, Kempff, and Lili Krauss all have
worthy recordings which present Mozart's 20th
Concerto in a different manner. Our preference for
a recording of this lovely work is the Schnabel disc
(*V'LHMV'1012), which is Mozart playing at its
best.

The two'piano concerto has two other versions in
the catalogs, an older one by Vronsky and Babin
and a more recent one by Gianoli and Badura'Skoda
with the Vienna orchestra under Scherchen (*WEST*
WL'5095). The Westminster disc will probably fill
the bill nicely for those who desire this work. It is
coupled with another two'piano concerto of Mozart.
Unless the coupling of the present disc appeals
strongly to you, we would not recommend it as a
best buy of the music offered. If you wish to "kill
two birds with one stone" you will get accurate
performances and good reproduction from the
Iturbis. S.

CHORAL

Harvard Glee Club Recital. Harvard Glee Club
conducted by G. Wallace Woodworth. MO"
disc (^CAMBRIDGE CRC'101) $4.
CONTENTS: Supplicationes (Palestrina); Ius'
torum animae (Byrd); O Maria, Diana Stella (15th
cent. Laude); Tibi laus, tibi gloria (Lassus); M ise'
rere mei (Victoria); Confitemini Domino (Pales'
trina); A doramus te (Anerio).

This diversified offering of Renaissance choral
music should provide devotees of this school with
one of their most valued discs; it should also incite
the interest of those who heretofore have found
pre'baroque music cold and unexciting. The special

• Indicates LP 88% rpm.
0 Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 6

MARCH

1953

The N ew R ecords

attraction of the recording, perhaps a unique one,
(beyond its excellent performance) rests with the
almost revelatory authenticity it achieves through
the use of a highly resonant recording hall com'
parable to that of the stone churches of the Renais'
sance. The rich texture of the music benefits from
the warm, colorfully resonant sound; and the total
effect sustains an aural opulence that we do not
think has ever before been heard on records.
Schiitz: Passion According to St. Matthew (com'
plete). (Sung in German). Max Meili (tenor)
with supporting soloists and Combined Berlin
Chamber Choirs conducted by Helmut Koch.
Three sides, and Schiitz: Symphonia sacra No. 9
(“Frohlocket mit Handen) and Schiitz: Sym-
phonia sacra No. 10 (“Lobet den Herrn”). Max
Meili (tenor) with strings and organ accompani'
ment. V 12" discs in album (*BG'BG'519/20)
$11.90.

Handel: Israel in Egypt (complete). (Sung in Ger'
man). Soloists, combined Berlin Chamber Choirs
and Berlin Symphony Orchestra conducted by
Helmut Koch. 2'12" discs in album (*BG'BG'
521/2) $11.90.

Heinrich Schiitz (1585T672), as has been noted
before in these columns, was one of the great musi'
cians of all time. The work recorded here, the
Passion According to St. Matthew, is a tremendously
moving and sincere setting of the last days of Christ
on earth. It lacks some of the overwhelming drama
that Bach gave to his version of the story, but it
makes up for this lack (if lack it really is) by its
almost incredible use of limited forces. There is no
instrumental accompaniment, the effects being
achieved by the human voice alone, and it is to the
credit of Herr Koch and his forces that the per'
formance is convincing from beginning to end. Max
Meili, as the Evangelist, sings the recitative passages
with a wealth of expression, and the soloists, par'
ticularly Herbert Rungenhagen as Jesus, Bernard
Michaelis as Judas and Horst Wilhelm as Peter, are
uniformly excellent. The pathos, the almost un'
earthly quality that Schiitz poured into the music,
are realized in Helmut Koch’s sensitive and scholarly
direction. No one interested in choral music or
music of the baroque period should be without this
sterling performance and recording. Comprehensive
notes and the German'English text are welcome
dividends.

Very different, yet cast in the same heroic mold,
is Bach Guild’s recording of Handel’s epic setting
of the biblical story of Israel in Egypt. As befits so
different a theme, here is a work that has a large
instrumental accompaniment and massive choruses.
Essentially the same forces are used, and Helmut
Koch demonstrates his sound musicianship by cap'
ably conducting the work in Handelian fashion.
The wonderful “plague” choruses that tell of the
“waters turning into blood,” of the “flies, lice and

locusts,” of hailstones and fire, and finally of the
smiting of the first'born of Egypt are strikingly
realized. They are quite unique — there is nothing
in music like them. The soloists are usually ade'
quate, sometimes fine, especially the men. The
choral passages, of which there are many, are exe'
cuted with precision and feeling.

Both works have been previously recorded but
these new versions are technically and artistically
superior. W.

Howe: Choruses. The Howard University Choir
directed by Warner Lawson. One side, and Howe:
Songs for Soprano. Katharine Hansel accom'
panied by Theodore Schaefer (piano). And
Howe: Songs for Baritone. Harold Ronk (bari'
tone) accompanied by Theodore Schaefer (piano),
l'l 2" disc (*WCFM'LP'13) $5.95.

CONTENTS: Mein Herz; O ma Douleur ; Frag >
ment; O Proserpina; When I Died in Berners Street
(soprano). Lullaby for a Foresters Child; The Rag
Pic\er; Innisfree; To the Unknown Soldier (bari'
tone). Williamsburg Sunday; Music When Soft
Voices Die; Chain Gang Song; The Horseman;
Cavaliers; Song of Ruth (chorus).

Vaughan Williams: (5) Mystical Songs. Harold
Ronk (baritone) with the Chancel Choir of the
National Presbyterian Church directed by Theo'
dore Schaefer (organ). One side, and Buxtehude:
Jesu, Joy and Treasure. Katharine Hansel (so'
prano), George Barritt (tenor), John Tompkins
(bass) with the Chancel Choir of the National
Presbyterian Church directed by Theodore Schae'
fer (organ). And Buxtehude: Choral Prelude
(“Wie schon leuchtet der Morgenstern”). Theo'
dore Schaefer (organ). M2" disc (*DEN'DR'
2) $5.95.

Two of the smaller (but better) producers of
LP discs release, this month, recordings of more than
passing interest. The first is a collection of the
vocal and choral works of the American composer,
Mary Howe. This issue supplements a previous re'
lease of her chamber music and thus makes avail'
able to the record buying public a fine cross'section
of this contemporary American composer's work.
The songs, nine in number, range from Persian
texts, through Shakespeare, Baudelaire, Yeats and
Elinor Wylie, while texts for the choral pieces in'
elude settings of Shelly, de la Mare and Masefield.
The songs are sung by Katherine Howard (a first
class lyric soprano) and Howard Ronk (an above
average baritone). The Howard University Choir
sings the choruses with vigor, authority and tonal
accuracy. Musically, Mary Howe, is modern with'
out being obtrusive about if. She can spin a fine
melody and has been able to achieve what few song
writers are able to do: to compose a setting that
fits the text like a glove. The choral works are also
distinctive, both melodically and structurally. This

PAGE 7

"THE WORLD'S RECORD SHOP"

• Indicates LP 88 */$ rpm.
0 Indicates 45 rpm.

march T he N?ze/ R ecords 1953

is definitely a disc for the cognescenti as well as for
the collector of Americana.

Den Recordings, with their second release, issues
another record of considerable musical merit. This
disc couples two composers, of completely different
eras, who are linked, in this instance, by the moods
projected by their respective scores. The Five Mys'
tical Songs are based on poems by George Herbert
( 1 593T633) and are titled Easter ; I got me flowers;
Love bade me welcome; The Call; and Antiphon.
Herbert was a parish priest of the Church of Eng'
land, and the poems are, as might be expected, re'
ligious in nature. The settings are extremely effec'
tive with their use of soloist and chorus and the
superb organ accompaniments lend a medieval at'
mosphere that is very much in character. The Bux'
tehude Cantata is a magnificent work, excellently
sung and superbly recorded. As a dividend, the
Choral Prelude played by Theodore Schaefer is a
masterpiece. A fine disc, primarily for the collector
who specializes in the unusual, but worthy of in'
vestigation by all music lovers. W.

Gesualdo: Italian Madrigals. One side, and Monte-
verdi: Italian Madrigals. The Randolph Singers
conducted by David Randolph. 1 ' 1 2" disc
( * WEST'WL' 5171) $5.95.

Motets for Christmas and Other Festivities. The
Welch Chorale directed by James B. Welch. 1'12"
disc (*LYR'LL'35) $5.92.

CONTENTS: O quam gloriosum (Victoria);
Hosanna to the Son of David (Gibbons); Hodie
Christus natus est (Sweelinck); Hodie Christus natus
est (Palestrina); Rorate caeli desuper (Gregorian);
Rorate caeli desuper (Palestrina); Gloria in excelsis
(Weelkes); Dies sanctificatus (Byrd); Dies sanctifi'
catus (Palestrina); In splendoribus (Gregorian);
Resonet in laudibus (Handl); Resonet in laudibus
(Gregorian); O magnum mysterium (Victoria); O
magnum mysterium (Byrd).

The pair of discs listed above are devoted to the
music of a bygone age and serve to prove, if such
proof were necessary, how unchanging and how
lasting great art can be. Gesualdo and Monteverdi,
the former very poorly represented on records until
this release, are two of the great Italian madrigalists.
The Randolph Singers, who do a sterling job with
both composers, sing hitherto unrecorded madrigals
in as near the original form and manner as possible.
In addition, the works were selected for their orig'
inality and are notable for their daring and “strange'
ness.'” The madrigals recorded here are often dis'
sonant, abounding in weird chromatic passages that
sound modern even to contemporary ears. An inter'
esting example is quoted in the accompanying notes,
comparing a portion of GesualdoV (1611) Moro
lasso al mio dulol and a passage from Die 'Wal\iire
(1885). There are, in all, eight madrigals by Gesu'
aldo and seven by Monteverdi. Considerable pains

were taken to simulate 17th century conditions
insofar as acoustics were concerned, i.e. to convey
the impression of a large hall without having exces'
sive echo that would tend to obscure the vocal line.
Scholarly notes and complete texts plus the out'
standingly original music make this disc one that be'
longs in every library of serious music.

Lyrichord and the Welch Chorale submit some
fourteen Motets, including four instances of different
settings of the same words. Thus, one may hear and
compare Sweelinck’s version of the Hodie Christus
natus est with that of Palestrina, and Victoria’s O
Magnum mysterium with William Byrd. Such com'
parisons are both instructive and fascinating and
could only be accomplished through the medium of
records. Needless to say, the music is all of the
utmost grandeur and is imbued with a deep religious
feeling that is almost, if not entirely, without parallel
in art. The singing of the Chorale is uniformly good
and the approach is both orthodox and intelligent.
Excellent recording is the order of the day. W.
Bach: Mass in B minor. (Sung in Latin). Soloists,

chorus and Rhineland Symphony Orchestra con'

ducted by Alfred Federer. 3' 12" discs in box
(*REGENT MG'6000) $5.67.

This, the third complete recording of Bach’s mon'
umental Mass in B Minor, costs only about one'third
as much as either of the two previous recordings.
This is the most important fact about the release
and it certainly colors, to a considerable extent, the
criticism that follows.

The performance by the Rhineland Symphony
and an unnamed chorus is neither very good nor dis'
tressingly bad. It falls in between and could be
described, at its highest level, as complacent. There
are also passages that sound dispirited, as though the
music got the best of all concerned. The soloists
Hedrich (soprano), Brunner (alto), Bochner
(tenor) and Kuntz (bass) are run'of'the'mill vocal'
ists that are usually adequate. Now, despite all this,
the set is not a bad value. Bach’s glorious music
shines through the sometimes shoddy performance
like “the body of Copheta’s beggar maid through
her rags.’’ It is not fair to compare this recording
with Westminster’s (Scherchen) magnificent job or
with RCA Victor’s (Shaw) less spectacular one be'
cause of the aforementioned price difference.

The records, from a technical angle, are service'
able and easy to listen to; this reviewer, to put it
negatively, has heard worse on discs costing three
times as much. The surfaces, while somewhat noisier
than the more expensive LP’s, are not objectionable.

The reader will probably have noticed a reluc'
tance on the part of the writer to condemn the set
out of hand and, at the same time, being somewhat
cagey about recommending it. Here is a case where
the prospective buyer is not only advised to hear
the set before purchasing, he is strongly urged to do
so — he may be surprised, he may be disappointed —

• Indicates LP 88 ^ rpm.
0 Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 8

MARCH

The Neze; R ecords

1953

it all depends on one’s standards. Monetary con'
siderations aside, the Westminster is still, by all
odds, the best. W.

Prokofiev: Oratorio, Op. 124 (“On Guard for
Peace’’). Zara Dolokhanova (mezzo'soprano) ; E.
Talanov (boy alto); combined choirs and State
Orchestra of the U. S. S. R. conducted by Samuel
Samossond. M2" disc (*VAN'VRS'6003) $5.95.
On Guard for Peace is another of those State
commissioned or State inspired grandiose composi'
tions that Soviet composers turn out on occasion.
This time it is Serge Prokofiev and while On Guard
for Peace is a far better work musically than Shos'
takovich’s Song of the Forests (which it superficially
resembles) it is still a far cry from the Prokofiev
of the two violin concertos, the Love for Three
Oranges and the Romeo and Juliet music.

This work was written in 1950/51 and celebrates
the “grim days of World War II . . . Stalingrad . . .
the victory ... the joy of creative labor . . . and
(Prokofiev’s) firm belief that war shall not be,
that the nations of the world will safeguard peace,
save civilization, our children, our future.’’ Now,
no one in his right mind would quarrel with these
ideas, but in view of Russia’s actions in the United
Nations assembly, the ideologies and thoughts ex'
pressed here have a spurious ring.

Musically the piece is typical of the composer.
There are melodies, acrid and pungent harmonies,
and the overall effect is one of considerable power.
The participating artists are adequate, the chorus
and orchestra sing and play with vim and apparent
conviction. In an oratorio such as this, however, it
is virtually impossible to separate it from its political
implications, and from its genesis the work is tainted
to this writers ears. The idea of “trade supplanting
bullets and bombs” under communism is as ridicu'
lous as trying to achieve peace by arming to the
teeth.

The recording is spotty, fair in some places and
definitely poor in others. The record, obviously, in'
sofar as this reviewer is concerned, has little to rec'
ommend it. Partisans of the composer are advised
to hear it before buying. W.

Verdi: Un Ballo in Maschera (complete). (Sung in
Italian). Ethel Semser (soprano); Joachim Kerol
(tenor); Marie'Therese Cahn (contralto); Jean
Borthayre (baritone); Lucien Mans, Jacques Lin'
solas (bassos); Paris Philharmonic Chorus and
L’Orchestre Radio'Symphonique de Paris de la
Radiodiffusion Fran^aise conducted by Rene Leib'
owitz. 3' 1 2" discs in album (*REN'SX'207)
$18.50.

Verdi’s Un Ballo in Maschera, considered old'
fashioned in 1888 by no less a personage than Ber'

nard Shaw, shows, in this recording, surprising mod'
ern qualities and a natural vitality. Certainly, as
has been noted before in these columns, a mediocre
and tasteless performance (of which there are all
too many on records these days) can devitalize the
finest opera, but when one gets a performance that
has above average singing and an espirit de corps
that is top'notch, then even a work that might be
considered old'fashioned (such as Un Ballo in Mas'
chera) emerges in all its melodramatic glory.

Renaissance has cast the opera well, having ob'
tained the services of a fine dramatic soprano in the
person of Ethel Semser for Amelia. Without such
a singer Un Ballo in Maschera would be a sad affair.
Mme. Semser proves a tower of strength in the
glorious aria M a dalV arido stela divulas and in the
equally taxing Morro, ma prima in grazie. Her voice
is a large one, and her high notes are thrilling indeed
while her lower register takes on an engaging con'
tralto quality. This, in addition to her considerable
acting ability makes her performance a compelling
one. The tenor is a newcomer to records, one Joa'

chim Kerol, whose large voice is capable of much

coloring and expression. In the lower register it
takes on baritone timbre and, if some of the high

notes are a little pinched they are usually accurate.

His work in the famous quintet E scherzo od e
follia is superb, and the other concerted numbers,
particularly the second act duet and in the opening
scene, show him to be a singing actor of the first
quality. His Ricardo is notable for its sincerity and
understanding. Renato is sung by one of the finest
of present day baritones, Jean Borthayre. Here is a
singer in the grand manner, a French baritone who
is neither nasal nor half tenor — a singer who can
grasp a foreign style and sing it as a native. Com'
parisons are dangerous, but the name of Journet
kept recurring to this reviewer.

Others in the cast are equally competent but lack
of space precludes more than a brief mention of
Mme. Cahn’s impressive Ulrica, Mile. Valdarnini’s
excellent Oscar and the fine singing of Mans and
Linsolas as the conspirators. Rene Leibowitz’ direc'
tion is magical — he breathes life into the score and
makes it real. Fine recording and a readable libretto
round out one of the finest Verdi offerings on
records. W.

Mozart: Cosi fan Tuttc (complete). (Sung in Itah
ian). Ina Souez, Luise Helletsgruber, Irene Eis'
inger (sopranos); Heddle Nash (tenor); Willi
Domgraf'Fassbander, John Brownlee (baritones);
Orchestra and Chorus of the Glyndebourne Opera
Festival conducted by Fritz Busch. 10'7" discs
in box (0V'WCT'61O4) $12.58. 3'12" discs in
album (*V'LCT'6104)^,$17.16.

This is the third of the fabulous Glyndebourne
Festival recordings of Mozart operas. Like its prede'
cessors, it is on an extraordinarily high plane artis'
tically and vocally, making other recordings and per'

PAGE 9

"THE WORLD'S RECORD SHOP"

0 Indicates 45 rpm.
Indicates LP 8 sy 3 rpm

MARCH

The New Records

1953

formances of the same music seem woefully inade-
quate. In this Cosi fan Tutte one hears a sextette of
superb Mozart singers, thoroughly rehearsed, placed
in an ideal setting and recorded with excellent
quality.

Briefly, Mmes. Souez and Helletsgruber have no
peers as the wayward ladies; and the music, which is
admittedly difficult, is sung with a sense of style,
a purity and agility that beggars description. Coup-
led with this is a sense of the theatre and a knowl-
edge of characterization that makes the sometimes
absurd (by modern standards only) libretto very
real. Heddle Nash was a very happy choice for
Ferrando and he sings like an angel. The late Willi
Domgraf-Fassbander had one of the finest baritone
voices of his era — smooth, colorful and exquisitely
produced. Of John Brownlee, one can only say
“Bravo!” He is a real artist, and everything he does,
including this magnificent Don Alfonso, is distin-
guished by a grand manner — aristocratic to the
nth degree.

Fritz Busch, whose untimely death robbed music
of one of its finest Mozart conductors, welds his
forces into an harmonious ensemble that won’t be
equalled for many years, if ever.

The transfer to LP discs is deftly accomplished,
and this issue of Cosi fan Tutte’s effervescent music
eliminates all competition. Here is a version of the
opera that will answer all arguments as to its essen-
tial greatness and should be in every record collec-
tion. Excellent notes by Walter Legge and a fine
libretto are included. W.

Ponchielli: La Gioconda (complete). (Sung in
Italian). Anita Corridori (soprano); Miriam Pira-
zinni and Rina Cavallari (contraltos); Giuseppe
Campora (tenor); Anselmo Colzani (baritone);
Fernando Corena (bass); Orchestra and Chorus
of La Scala Opera Company (Milan) conducted
by Armando la Rosa Parodi. 4-12" discs in album
(*UR-URLP-229) $23.80.

Ponchielli: La Gioconda (complete). (Sung in
Italian). Maria Meneghini Callas (soprano);
Fedora Barbieri and Maria Amadini (contraltos);
Gianni Poggi (tenor); Paolo Silveri (baritone);
Giulio Neri (bass); Cetra Chorus and Orchestra
of Radio Italiana (Turin) conducted by Antonio
Votto. 3-12" discs in album (*CE-LP-1241 )
$17.85.

For sheer blood and thunder it would be difficult
to imagine anything more violent, both musically
and dramatically, than Ponchielli’s only surviving
opera La Gioconda. It is one of the few “grand”
operas holding the stage today and the reasons for
its success are not hard to find. There are flowing
melodies, black villains, two heroines both fighting
over the hero, inquisitions, burning boats, canals,
parties — one could go on almost indefinitely — and
all are good theatre.

These two recorded performances offer a nice

study in contrasts. One, the Cetra, features a strong
(on paper) cast, the other a relatively unknown
group of singers. It is the latter performance, how-
ever, that emerges as the most listenable and, in
the long run, the most artistic. In the title role of
the Cetra recording is the much heralded Maria
Callas. Perhaps the build-up has been too great, for
this reviewer found her performance far too melo-
dramatic, her high notes and her low voice throaty
in the extreme. It is a characterization more suitable
to Hollywood than to the operatic stage. As Bernard
Shaw once wrote of another singer “aided by youth
(she) screamed her way through the part.” On the
other hand, Urania’s Gioconda, Anita Corridori,
gives a musicianly delineation of the unhappy street
singer that wears much better. Vocally Maria Callas
is far more gifted, but Mme. Corridori is by far the
better artist. The same general remarks hold true
for Poggi vs. Campora. The latter, despite a throaty
voice production, sings a much finer Enzo than his
counterpart who forces for his high notes and
wobbles on sustained high passages. The two Barna-
bas, Silveri and Colzani, follow the same pattern
as the others. The former bellows and suffers from
a noticeable vibrato. Colzani, who was only a fair
Don Carlo in Urania’s La Forza del Destino, emerges
as a top-flight Barnaba. Fedora Barbieri and Miriam
Pirazinni are both good with the former having
more vocal opulance. Corena shades Neri as Alvise
although both are excellent. The two conductors are
about equal, with this reviewer favoring Parodi be-
cause he seems able to keep his singers in line.
Urania has the better recording, technically.

Since the Urania set is priced higher than the
Cetra (four records as against three) they have
arranged that a “bonus” record be supplied to
equalize the costs. With the purchase of the Urania
set one receives, packed inside the album, a coupon
which entitles the owner to select any of the Urania
records listed on the reverse side of the coupon as
a “bonus.” The dealer will accept the coupon as
payment for the record selected, and thus, theoret-
ically, the purchaser will not be penalized for paying
the higher price. W.

Leoncavallo: I Pagliacci (complete). (Sung in
Italian). Iva Pacetti (soprano) and Beniamino
Gigli (tenor) with Chorus and Orchestra of La
Scala Opera Company (Milan) conducted by
Franco Ghione. Fifteen sides, and Gigli Operatic
Recital. Beniamino Gigli (tenor) with orchestra.
9-7" discs in box (0V-WCT-6O1O) $11.44. 2-12"
discs in album (*V-LCT-6010) $11.44.
Leoncavallo’s operatic thriller has been success-
fully transferred to LP discs by RCA Victor by util-
izing their fine recording, vintage 1935, that featured
Beniamino Gigli as the ill-starred and vengeful
Canio. Nearly twenty years have elapsed since this
performance was recorded; yet it still not only
sounds good, it packs a wallop that is missing in other
more recent recordings. This is the more surprising

* Indicate* LP 33^ rpm.
0 Indicates 4 ft rpm.

H. ROYER SMITH COMPANY

PAGE 10

MARCH

The Nm Records

1953

when one considers that Gigli is not usually con-
sidered at his best in heroic tenor roles. Neverthe-
less, his Canio is a first-rate job. His fellow artists,
the late Mario Basiola and Iva Pacetti, as Tonio and
Nedda, also turn in performances far above the ordi-
nary that rightly place the presentation in the
“Treasury" class. Franco Ghione’s direction is such
that all the drama and passion of the score are
brought out without its once becoming unreal or
vulgar — no mean feat, incidentally.

The present pressing has been arranged to fit on
three sides, leaving room for one of the finest divi-
dends imaginable — three arias by Gigli and a duet
wherein he is joined by Dusolina Giannini. The
duet, from “Cavalleria Rusticana" (Tu qui, Sari'
tuzza), is superbly sung by both artists. Chief inter-
est centers on the three arias, however. They are
the fabulous recordings made in the late Twenties
or early Thirties of Cielo e mar from “La Gioconda,"
M’appari from “Martha" and O paradiso from
“L’Africana." To anyone who will be hearing them
for the first time, the outpouring of golden sound
will be well-nigh unbelievable. W.

R. Strauss: Der Rosenkavalier (abridged). (Sung
in German). Lotte Lehmann (soprano); Maria
Olszewska (mezzo-soprano); Victor Madin (bari-
tone); Richard Mayr (bass); Chorus of the Vienna
State Opera and Vienna Philharmonic Orchestra
conducted by Robert Heger. 9-7" discs in box
(0V-WCT-6OO5) $10.90. 2-12" discs in album

(*V-LCT-6005) $11.44.

This legendary recording of Strauss' Der Rosen'
\avalier makes a most successful and welcome reap-
pearance on two LP discs. It is abridged, of course,
but the abridgement has been ingeniously effected
with the result, as one commentator tersely puts it
“while only about half the extremely long score
is recorded here, there are few excisions of really
important material." This is both true and, at the
same time, a very acute comment on Strauss' ten-
dency to pad his scores. The major cut is one of
sixty pages in Act 3 covering the farce played on
Ochs, the entrance of the Police, Faninal, etc.

The cast is the finest imaginable. Lotte Lehmann
has been considered, and rightly so, as the finest
interpreter of the Marschallin. It is preserved here
in all its glory. Richard Mayr was Strauss' choice
for Ochs but was unable to create the role due to
prior commitments. His performance here demon-
strates the fact that he had no peers in the role.
Olszewska's Octavian is a thing of beauty — utterly
charming. Elisabeth Schumann as Sophie is girlish,
ingenious and perfectly cast. Others in the cast are
of high calibre, and Robert Heger’s direction is au-
thoritative.

The original recording took place in the early
1930's (released in this country in 1934, reviewed
in TNR Mar. ’34) and, for all its age, sounds very
good indeed. This Rosen\avalier has no competition

despite the existance of two complete LP versions.
There is an air about it, a feeling of well being,
that is lacking in the others.

No libretto is supplied, but the booklet furnished
outlines the plot, shows the omissions, and includes
a fine article on the opera by Lotte Lehmann. W.

A Tribute to Lotte Lehmann. Lotte Lehmann (so-
prano) with piano accompaniment. 4-7" discs in
box (0V-WCT-11O8) $5.14. 1-12" disc (*V-

LCT-1108) $5.72.

CONTENTS: Die V erschweigung, An Chloe
(Mozart); Ungeduld, Im Abendrot, Der W egweiser,
Die Krdhe, Tauschung, Mut, Die 7<[ebensonnen, Der
Lindenbaum, Die Kartenlegerin, Alte Laute, WaldeS'
gesprach (Schubert); Du Bist wie eine Blume, Fruh'
lingsnacht (Schumann); Therese, M eine liebe is grun,
Der Tod das ist die Kuble l^acht (Brahms); Fur
Musi\, Gute Klacht (Franz).

It seems almost incredible to this reviewer that
Lotte Lehmann should have reached the “tribute"
stage. To be sure, she really deserves the accolade —
what worries this corner is the passage of time!
These selections were made in the period 1935-40
and, at the risk of seeming trite, it does seem only
yesterday. Now Mme. Lehmann is enjoying a richly
deserved retirement — and yet, how calmly one ac-
cepts the miracle that enables us to hear her musi-
cianly performances of the magnificent lieder re-
issued on this fascinating record.

Chief interest centers around the wonderful sing-
ing (singing, as we have had occasion to point out
before, is more than singing the notes correctly, it
is more than beautiful vocalizing) of the songs from
Die Winterreise. There are six of them, each ex-
quisitely realized and projected with sure artistry and
perfect expression. The real heart-break in Der
Wegweiser, the bleakness of Die Krdhe and the deso-
lation inherent in Der 7\ [ebensonnen are presented
in a manner that justifies the use of a phrase, often
loosely applied, that of “immortal" performances.

Three songs by Brahms and a pair each by Mozart,
Schumann and Wolf, plus five more Schubert lieder
complete a disc that is unique. Each of them is pol-
ished like a jewel and leaves one with an impression
that will last. This is accomplished through the
medium of Mme. Lehmann’s sincerity and essentially
human approach to the music. She gets at the
essence of the song — each performance is a true re-
creation of both the poet’s and the composer’s in-
tentions.

It is a pity that RCA Victor did not see fit to
include a leaflet giving the translation and text of
the songs; it would hav^-rost very little and would
have added considerably to the listener's enjoyment
and appreciation. Vincent Sheean’s essay is excel-
lent. The reproduction, when one admits the tech-
nical limitations of 193 5-40, is quite good. W.

PAGE II

"THE WORLD’S RECORD SHOP’

indicates I<P 33^ rpm
0 indicates 45 rpm.

MARCH

The N ew R ecords

1953

Schlusnus Sings (Vol. 3). Heinrich Schlusnus (bari-
tone) accompanied by Sebastian Peschko (piano).
M2" disc (*D-DL-9622) $5.85.

CONTENTS: An die Leyer, Lied eines Schiffers
an die Dios\uren (Schubert); T^achtgang, Freund'
liche Vission (R. Strauss); Der W achtelschlag, An-
den\en (Beethoven); Von ewiger Liebe, Der Gang
zum Liebchen, Am Sonntag Morgen, Feldeinsam\eit,
Die M ainacht (Brahms); Fussreise, Auch hleine
Dinge (Wolf).

Schlusnus Sings (Vol. 4). Heinrich Schlusnus (bari-
tone) with piano accompaniments. 1-12" disc
(*D-DL-9623) $5.85.

CONTENTS: Der Wanderer, Wobin ?, Der
Musensohn (Schubert); Winterliebe, Traum durch
die Dammerung, Ich trage meine Minne, Z ueignung
(R. Strauss); Wanderlied (Schumann); Aus der
Jugendzeit (Radecke); Am Rhein (Humperdinck);
Die Uhr, Tom der Reimer (Loewe).

Muzio Song Recital. Claudia Muzio (soprano) with
orchestral accompaniments. 1-12" disc (*C-ML-
4634) $5.45.

CONTENTS: Se tu mami (Pergolesi); Spirate
pur spirate, O del mio amato ben (Donaudy); Umbra
di nube, Ave Maria (Refice); La ninna nanna della
Vergine (Reger); Beau soir (Debussy); Bonjour
Suzon, Les filles de Cadiz (Delibes); Cest mon ami
(Crist).

The success of the two LP discs (Vols. I and II)
(*D-DL-9620/l ) issued in December 1952 contain-
ing recordings by the great lieder singer Heinrich
Schlusnus has probably prompted Decca to hurry
along Vols. Ill and IV. They are now available and
it would seem that all that is necessary is to say
that they rate fully with the earlier releases. . . . We
are glad to announce that Columbia has transferred
some recordings of the almost legendary Claudia
Muzio to a 12-inch LP record. Miss Muzio made
these recordings in 1935 just about a year before* her
untimely death. Here is an example of an operatic
diva of first rank who was also an excellent singer
of songs. The present disc definitely proves that
fact.

Schubert: Die schone Mullerin, Op. 25. (Sung in
German). Walther Ludwig (tenor) accompanied
by Michael Raucheisen (piano). 1-12" disc (*D-
DL-9648) $5.85.

Schubert: Schwanengesang. (Sung in German).
Petre Munteanu (tenor) accompanied by Franz
Holetschek (piano). 1-12" disc (*WEST-WL-
5165) $5.95.

Two Schubert “song cycles” one real, the other
contrived, are issued this month. Schubert’s Die
schone Mullerin is making its third appearance on
LP with this Decca release; previous recordings have
been made by Singher and Schiotz. Walter Ludwig
and his accompanist, Michael Raucheisen, do a very
fine job indeed with the music. Herr Ludwig sings

in an agreeable tenor and also with a fine understand-
ing of both music and text (very necessary this, for
they are very closely interwoven). The performance
is notable, also, for the excellent phrasing and capital
choice of tempi throughout. The songs are taken at
a leisurely pace that emphasizes their lyric romantic-
ism. It is a highly commendable presentation superior
to both previously issued recordings. The drawbacks
are two in number, neither musical, however. First,
no texts are supplied although the songs are anno-
tated, and second, more than usual surface noise was
evident in the review copy.

The Schwanengesang is a group of songs that
some suppose Schubert intended publishing as a unit
but died before the project was completed. The
publisher, Diabelli, gathered together the manu-
scripts and pinned the dreadful title Schwanenge'
sang on them. These songs, then, are sung on the
Westminster disc by a young Roumanian tenor,
Petre Munteanu. Somehow the affair does not come
off. Munteanu has an odd voice (on this record,
in all events) that changes color throughout its
range. His pianissimo singing is very nice; but
when he opens up, his intonation becomes faulty,
the voice takes on a harsh quality, almost “white,”
that is definitely unpleasant. In addition to this,
such songs as Der Doppelganger, Die Stadt and
Auftenhalt are beyond him, and they misfire com-
pletely. The very intimate recording (Munteanu’s
voice seems about six inches from one’s ears) is not
calculated to cover any defects in its production.
Franz Holetschek’s accompaniments are well con-
sidered and deftly accomplished. Texts and copious
notes are furnished. \y\

Songs of Beethoven and Schubert. Elena Nikolaidi

(contralto) accompanied by Jan Behr (piano).

1-12" disc (*C-ML-4628) $5.45.

CONTENTS: (6) Sacred Songs, Op. 48; Bitten;
Die Liebe des Hdchsten; Vom Tode; Die Ehre Gottes
aus der Tiatur; Gottes Macht und Vorsehung; Buss'
lied; An die Feme geliebte, Op. 98 (Beethoven).
Fischerweise, Op. 96, No. 4; Hacht und Trdume,
Op. 43, No. 2; Auf dem Wasser zu singen, Op. 72;
Im Abendroth; Die junge Honne, Op. 43, No. 1;
Die Forelle, Op. 32 (Schubert).

Elena Nikolaidi was born near Athens and made
her professional debut with the State Orchestra of
that city under Mitropoulos. While studying in
Vienna she came to the attention of Bruno Walter
who immediately engaged the young singer for a
number of performances with the Vienna State
Opera. She made her American debut at Town Hall
(New York) in 1949 and received the acclaim of the
critics. Her debut with the Metropolitan Opera as
Amneris in Aida in 1951 was most successful and
established Miss Nikolaidi as one of the great artists
of the present era.

Music lovers will doubtless be interested in her
record released this month. It contains some of

* Indicates LP 83 % rpm.
0 Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 12

MARCH

1953

The Records

Beethoven and Schubert's loveliest songs. As you
listen to them, we are sure that you will agree that
Miss Nikolaidi is a lieder singer of high rank.

Sullivan: H. M. S. Pinafore. Twelve sides, and
Sullivan: Trial by Jury. Soloists, Chorus and
Orchestra of the D’Oyly Carte Opera Company
under the direction of Sir Rupert D’Oyly Carte.
9-7" discs in box (0V-WCT-6OO8) $11.44. 2-12"
discs in album (*V-LCT-6008) $11.44.

Sullivan: The Mikado. Soloists, Chorus and Orches-
tra of the D’Oyly Carte Opera Company under
the direction of Sir Rupert D’Oyly Carte. 9-7"
discs in box (0V-WCT-6OO9) $11.44 2.12" discs
in box (*V-LCT-6009) $11.44. (TNR Dec. ’36).
At long last RCA Victor has begun to re-issue
the D’Oyly Carte versions of the merry Gilbert and
Sullivan operettas; the carping between the camp
of those who prefer the London ffrr versions and
those who stick to the older ones will now cease.

When one considers that the original issues of
H. M. S. Pinafore and Trial by Jury ante-dates The
New Records, one must marvel at the job that RCA
Victor has done in presenting this issue on modern
LP records; the reproduction is definitely in the
“good” category, albeit far below “hi-fi” standards.
The Mi\ado was reviewed in our December 1936
issue, as indicated in the heading above.

Mozart: Sonata in F, K. 533, with Rondo, K. 494.
One side, and Mozart: Rondo in D, K. 485 and
Mozart: Adagio in B minor, K. 540 and
Mozart: Fantasy and Fugue in C, K. 394. Paul
Badura-Skoda, playing a piano from the Kunsthis-
torischen Museum (Vienna), built by Anton
Walter (c. 1785). 1-12" disc (*WEST-WL-

5153) $5.95.

Mozart: Sonata in F, K. 533, with Rondo, K. 494.
One side, and Mozart: Rondo in D, K. 485 and
Mozart: Adagio in B minor, K. 540 and
Mozart: Fantasy and Fugue in C, K. 394. Paul
Badura-Skoda (piano). 1-12" disc (*WEST-WL-

5154) $5.95.

Here is an unusual pair of LP discs. On each of
them the brilliant young pianist, Paul Badura-Skoda,
has recorded the same Mozart selections. On the
first disc Badura-Skoda used an instrument built
circa 1785 by the celebrated Viennese instrument-
maker, Anton Walter. Mozart is known to have been
a great admirer of Walter’s pianos, which were held
in high esteem by Mozart’s contemporaries even as
late as Beethoven. The present instrument is housed
in the Kunsthistorischen Museum in Vienna where
these recordings were made. The recordings on the
modern piano were also made in Austria but the
make of the instrument used is not mentioned in the
accompanying notes.

It is interesting to note that the progress that has
been made in the making of pianos since Walter’s
day is not so great. If the present ancient instru-
ment sounded as good in Mozart’s time as it does
now, that great composer was rewarded by hearing
some very beautiful tones. It is no wonder that late
18th and early 19th century composers wrote so much
music for the piano — they had really very acceptable
instruments on which their music might be played.
Beethoven Sonata Society (Vol. I). Artur
Schnabel (piano). 4-7" discs in box (0V-WCT-

1109) $5.14. 1-12" disc (*V-LCT-1109) $5.72.
CONTENTS: Sonata Ho. 32 in C minor, Op.

Ill; Sonata [o. 27 in E minor, Op. 90; Sonata Ho.
24 in F'sharp, Op. 78.

Beethoven Sonata Society (Vol. II). Artur
Schnabel (piano). 4-7" discs in box (0V-WCT-

1110) $5.14. 1-12" disc (*V-LCT-1110) $5.72.
CONTENTS: Sonata Ho. 30 in E, Op. 109;

Sonata Ho. 13 in E'flat, Op. 27, Ho. 1; Sonata Ho.
9 in E, Op. 1 4, Ho. 1 .

RCA Victor plans to make available the fifteen
volumes of the famous Beethoven Sonata Society on
LP discs — one LP disc for each volume. The first
two volumes have been released recently, and the
others are to follow at appropriate intervals. It is
interesting to note that the 78 rpm versions of these
first two volumes have been out-of-print for many
years and have brought quite fancy prices as col-
lectors’ items. We understand that they will never
be re-pressed at the original speed and thus those
who possess “first editions” still have items of pre-
mium value; however, those who are only interested
in having these sonatas played by the late Artur
Schnabel may now secure them in either the 45 rpm
version or on LP discs. As there are many music
lovers throughout the world who feel that no one
has ever recorded the Beethoven Piano Sonatas as has
this distinguished German pianist, it would seem
that RCA Victor’s venture should meet with sub-
stantial success.

Beethoven: Sonata No. 21 in C, Op. 53 (“Wald-
stein”). Four sides, and Beethoven: Sonata No.
30 in E, Op. 109. Two and one-half sides, and
Beethoven: Sonata No. 22 in F, Op. 54. Solomon
(piano). 4-7" discs in box (0V-WDM-1716)
$5.14. 1-12" disc (*V-LM-1716) $5.72.

Some time ago the great British pianist, Solomon,
recorded Opus 13 and Opus 111, and this month
three more Beethoven Sonatas played by him are
made available. We learn that Solomon purposes
to record all thirty-two of these works. There is no
question but that Solomon is one of the greatest
pianists of our day and many consider him a superb
interpreter of Beethoven; but he will run into stiff
competition in the Beethoven Sonata field from
Kempff, Backhaus and Schnabel. All of the Sonatas
are now available on LP discs by Kempff; Backhaus

PAGE 13

"THE WORLD’S RECORD SHOP”

indicate! LP 38^ rpm
0 indicates 45 rpm

MARCH

The Nw R ecords

1953

has recorded most of them and the balance are to
be released shortly; and it is rumored that the
famous series that Schnabel made for HMV’s so'
called limited edition on 78’s will presently be made
available on LP’s. This will give Beethoven lovers
a wide choice, and we rather think that it is not
likely that any of these great keyboard artists will
receive an overwhelming majority; each will have
the vote of a substantial group of admirers.

Schumann: Fantasiestiicke, Op. 12. One side, and
Schumann: Fantasia in C, Op. 17. Joerg Demus
(piano). M2" disc (*WEST'WL'5157) $5.95.
Schumann: Carnaval, Op. 9 (TNR June ’51). One
side, and Schumann: Papillons, Op. 2 (TNR
Sept. '51). Guiomar Novaes (piano). IT 2" disc
*VX'PL'7830) $5.95.

There are numerous LP recordings of Schumann's
Fantasiestuc\e, Op. 12 and Fantasia in C, Op. 17
but we were greatly impressed with the present
renditions by the young Austrian pianist, Joerg
Demus. Here is a young artist that bears watching —
his Schumann to us is something very special — his
Schubert is also very fine — we don't think he is
quite ready for Beethoven, but given time he will,
in our opinion, rate with the best of them in all
fields of keyboard music.

The two recordings on the Vox record have been
previously released on LP discs with other couplings
and were reviewed in the issues of TNR indicated
in the heading above.

Tchaikovsky: "Album for the Young,” Op. 39.

Poldi Zeitlin (piano). LI 2" disc (*OPUS 6001)
$5.95.

CONTENTS: Morning Prayer; Winter Morn'
ing; Hobby Horse; Mamma; The Wooden Soldiers’
March; The Sic\ Doll; The Doll’s Funeral; Waltz;
The New Doll; Mazur\a; Russian Song; Peasant
Playing the Accordion; Kamarins\aya; Pol\a; Little
Italian Song; Old French Song; Little German Song;
Little Neapolitan Song; The Nurse’s Tale; The
Witch; Sweet Reverie; Song of the Lar\; The Organ
Grinder’s Song; In the Church.

Beethoven: (21) Pieces for Piano. Poldi Zeitlin
(piano). M2" disc (*OPUS 6002) $5.95.
CONTENTS: (6) German Dances; (6) Country
Dances; (6) Minuets; Sonatina in G; (6) Varia'
tions on a Swiss Song; Sonatina in E'flat.

The two LP records listed above were designed
primarily for young students of the piano. The
recordings were made by Poldi Zeitlin, a niece and
former pupil of the late Artur Schnabel. Miss
Zeitlin is known for her great success as a teacher
both abroad and in this country. She came to
America in 1934 and since that time has been teach'
ing in New York City. Miss Zeitlin has a national
reputation and is a member of many educational
societies in the field of music.

The first disc contains Tchaikovsky's “ Album for
the Young,” Op. 39 consisting of twentyTour little
pieces for piano. These date from 1877 and were
composed while Tchaikovsky was on a vacation in
Italy. They were written for the composer’s nephew,
Vladimir Davidow, a gifted young student of the
piano. Since that time many young people all over
the world have had the advantage of these delightful
little pieces for their enjoyment and study. We
don’t recall their ever having been recorded before.

The second disc contains a number of Beethoven
pieces, most of which are known to young students
of the piano. Both discs contain much music that
will be of great help to both teachers and pupils
and thus we do not hesitate to recommend them.
If they are well received, the publisher promises
that more will be issued.

Dinu Lipatti Recital. Dinu Lipatti (piano). IT 2"
disc (*C'ML'4633) $5.45.

CONTENTS: Jesu, Joy of Man’s Desiring; SicilP
ana (from “Sonata No. 2 in E'flat for Flute Solo’’);
Partita No. 1 in B'flat; Nun \omm ’ der heiden
heiland; Ich ruf ’ zu Dir, Herr Jesu Christ (Bach).
Sonata No. 8 in A minor, K. 310 (Mozart).

There is an apparent insatiable demand for re'
cordings by the late Dinu Lipatti, and thus it is only
necessary to announce that a new disc containing
such is available. Here is one, and it contains sev'
eral very delightful selections which should be at'
tractive to any discerning lover of piano music.

Beethoven: Sonata No. 21 in C, Op. 53 (“Wald'
stein’’). One side, and Beethoven: Sonata No.
30 in E, Op. 109. Rudolf Serkin (piano). IT 2"
disc (*C'ML'4620) $5.45.

Rudolf Serkin’s host of admirers will doubtless
be delighted to know that the present LP disc is
now available. The performances of both of these
sonatas are well up to Serkin’s usual standard —
need we say more?

A Richard Ellsasser Concert. Richard Ellsasser play'
ing the organ of the John Hays Hammond, Jr.,
Museum, Gloucester (Mass.). IT 2" disc (*MGM'
E'3005) $4.85.

CONTENTS: 19th Psalm (Marcello); Gigue
Ronde (J. C. F. Bach); Concerto in D minor —
Adagio (Vivaldi'Bach); Rondo in G (Bull); Chor >
ale'Prelude on “Rhosymedre” (Vaughan Williams);
Carillon (Vierne); Fanfare (Thomson); Chollas
Dance for You (Leach); Soul of the La\e (Karg'
Elert); Marche Fantastique (Ellsasser).

In the November 1948 issue of TNR we reviewed
an album of Bach music played by Richard Ellsasser
(on 78 rpm discs) produced by a small independent
company. We now have another, and far more
satisfactory program played by this virtuoso artist.

• indicates LP 88^ rpt jl
4 Indicates 45 rym.

H. ROYER SMITH COMPANY

PAGE 14

MARCH

The N ew R ecords

1953

It is more satisfactory because the material is good
and unhackneyed and more suitable to Ellsasser's
talents. His reputation as a Bach performer is indeed
formidable, being the youngest person in history to
have memorized and performed all the organ works
of Bach and the first to give a complete performance
from memory in America of Bach’s “Liturgy.” Nev'
ertheless his interpretations of Bach on records are
rather individual to say the least.

The pieces played on this disc include some shorter
works from the standard organ repertoire and some
novelties, but they are all good organ music, well
written for the instrument. Ellsasser loses no op'
portunity to demonstrate the resources of the large
instrument at his disposal, giving us many charming
effects and many lovely solo stops. There is also
the widest possible contrast in the material selected,
from various schools and styles of composition. Any
organist will find this an enjoyable disc, and laymen
who just like organ music will hear some new things
for the first time.

In much of the music here recorded Ellsasser has
made use of the Dynamic Accentor which has recent'
ly been developed by the pipe organ division of the
Hammond Research Laboratory of Gloucester, Mass.
The Dynamic Accentor is an electronic device which,
when added to an organ, can more than double its
volume, enrich its tone, and greatly increase its
power of expression, maintaining at the same time
true pipe organ quality. Organists may wish to try
to discover where the device is used on this disc.
We were not aware of anything unusual taking
place, which is some proof of its fidelity. S.

DICTION

Mr. President. Actual voices of the men who have
made our history from 1933 to 1953, edited and
narrated by James Fleming. 4'7" discs in box
(0V'WDM'1753) $5.14. M2" disc (*V'LM'

1753) $5.72.

Here is another in the growing list of documentary
recordings — it is a rather good one. James Fleming,
one of the famous news editors of NBC has procured
recordings of the voices of the great personalities
and outstanding public figures of the last twenty
years and tied them together with an interesting and
lively commentary. An appropriate subtitle to “Mr.
President” might be “Headlines from F.D.R. to
D.D.E.”

Merrill Moore Reading His Own Poetry. (Vols. I,
II, and III). Merrill Moore (reading and com'
mentary). 3'10" discs (*HARVARD PMM'1/3)
$4.95 each.

VOLUME I (*PMM'l): Introduction; A Vaginal
Ear; Tou Know What It Means To Be Thoroughly
Satisfied?; Compulsive Scholar; He Told Me That;
How He Is Running a Gree\ Restaurant Somewhere;

Mrs. Broderic\; He Was a Different Fellow after a
Couple of Drin\s; Ho Comment; That Was Chicago;
Anything for a §uic\ Buc\; China Theatre, 1945;
Scene from a Klangsu Landscape; Squaw\y Brad '
field; He Read Them Sermons That They Under >
stood; On Oil; Sleeping by My Pad; In September
Where Spiders Congregate.

VOLUME II (*PMM'2): Introduction; The
Sound of Time Hangs Heavy in My Ears; There
Is a Way of Life; Men Are Strange; Hothing Can
Be Too Damnable or Odd; The Most Difficult; Snow
Melts and Leaves the Branches Glistening; It Is
Written in the Elements Very Plain ; Ho One Has
Tried Harder; Elizabeth Fox, Single, Aged 54;
Breakers.

VOLUME III (*PMM'3) : Introduction; The
Hoise That Time M a\es; The Boo\ of How; Old
Men and Old Women; Shot Who? Jim Lane?;
Undergraduate; Why He Stroked the Cats; Warning
to One; Sleepy Water; Tou Are the Tou That Poets
Have Addressed; A Corner for Lefty; They Also
Stand; The West Facade of the Parthenon Tells It
All; Oh! Glimmering World; The Papers ; Grand'
fathers Morning Is a Simple One; How Could I
Know?

Those of our readers who are interested in modern
poetry will doubtless be pleased to know that Mer'
rill Moore has recently recorded quite a number of
his poems for the poetry Room, Harvard College
Library. These LP recordings were made under the
supervision of Professor F. C. Packard, Jr. and
have been issued under the Harvard Vocarium label.

MISCELLANEOUS

French Horn Masterpieces. James Stagliano (horn)
and Margo Stagliano (soprano) accompanied by
Paul Ulanowsky (piano). M2" disc (*BOSTON
L'200) $5.95.

CONTENTS: Sonata for Horn and Piano, Op.
17 (Beethoven); Concerto Rondo for Horn and
Piano, K. 370 (Mozart); Auf dem Strom, Op. 11 9
(horn, soprano and piano) (Schubert); Adagio and
Allegro for Horn and Piano, Op. 70 (Schumann).

The repertory of recorded chamber music is greatly
enriched by the four selections to be found on this
fine and unusual LP disc. All of them were writ'
ten for the French horn — three are for that instru'
ment with piano and the fourth adds a voice (either
tenor or soprano). The last selection (Schubert’s
Auf dem Strom, Op. 11$) was new to us and we
were fascinated by it — we played it over three times,
each time with greater enjoyment.

We must say a word for the fine artists who have
made these thoroughly delightful recordings. James

PAGE 15

"THE WORLD’S RECORD SHOP"

Indicates LP 8S^ rpn>
0 Indicates 45 rpm

MARCH

The N ew Records

1953

Stagliano is the horn soloist of the Boston Symphony
Orchestra and also a member of the faculty of the
Berkshire Music Center at Tanglewood. His wife,
Margo, holds an Artist Diploma from the New Eng-
land Conservatory of Music and has appeared with
a number of orchestras including the Boston Sym-
phony. Paul Ulanowsky is the well-known pianist
and accompanist. He is also on the faculty of the
Berkshire Music Center.

HARPSICHORD

Bach: Clavierubung (complete). Ralph Kirkpatrick
(harpsichord) and Paul Callaway, playing the
organ in Washington (D. C.) Cathedral. 7-12"
discs in box (*HS-HSL-A) $41.65. Also available
singly.

*HS-HSL-3056: Partita No. 1 in B'flat; Partita
No. 5 in G. Kirkpatrick. $5.95.

*HS-HSL-3057: Partita T^o. 2 in C minor; Partita
No. 4 in D. Kirkpatrick. $5.95.

*HS-HSL-3058: Partita No. 3 in A minor; Partita
No. 6 in E minor. Kirkpatrick. $5.95.

*HS-HSL-3059: Ouverture a la maniere Fran'
qaise; (4) Duets; Italian Concerto in F. Kirkpatrick.
$5.95.

*HS-HSL-3060: Introduction; Kyrie; Gloria ; Ten
Commandments. Callaway. $5.95.

*HS-HSL-3061 : Credo; Lord’s Prayer; Baptism;
Penitence; Communion; Conclusion. Callaway. $5.95.

*HS-HSL-3062: The Goldberg Variations. Kirk-
patrick. $5.95.

For the first time Bach’s prodigious collection of
keyboard works, one of the pinnacles in the musical
art of Western civilization, has been recorded in its
entirety. Ralph Kirkpatrick offers one of the finest
examples of harpsichord playing we have heard.
The intelligence and tastefulness of his performance
should provide, even for the Bach lover whose audi-
tory journey has been lengthy, the final step towards
perfection.

Paul Callaway's execution of the Organ Mass con-
tains an understanding of that work we have not
found previously extended. Not even Helmut
Walcha's recording of it can match this one. Indeed,
Walcha’s use of a baroque organ to achieve authen-
ticity works in this instance to a disadvantage, for
the more sombre tone of the modern organ seems
more suited to the spirit of the Mass.

Program notes by Kirkpatrick are intelligent and
extensive. Reproduction is excellent. C.

BOOKS OP MUSICAL INTEREST

The World's Encyclopaedia of Recorded
Music. By Francis F. Clough and G. J.
Cuming. 890 pp. Sidgwick and Jackson,
Ltd. (London). Price $17.50.

The T^ew Catalogue of Historical Records
1 898' 1 908/09. Compiled by Robert Bauer.
494 pp. Published in England. For sale in
U. S. A. by H. Royer Smith Co. (PhiladeL
phia). Price $7.25.

The Gramophone Shop Encyclopedia of Re-
corded Music (Third Edition). Robert H.
Reid, Supervising Editor, 639 pp. Crown
Publishers (New York). Price $2.95.

The Victor Boo\ of Operas . Revised and edited
by Louis Biancolli and Robert Bagar.
xxiv+596 pp. Illustrated. Simon and
Schuster (New York). Price $3.95.

Victor Boo\ of Concertos. By Abraham Veinus.
xxv + 450 pp. Simon and Schuster (New
York). Price $3.95.

Collectors' Guide to American Recordings
1895'1925. By Julian Morton Moses.
Foreword by Giuseppe De Luca. 200 pp
Published by the author. Price $3.75.

I Hear You Calling Me. By Lily McCormack.
201 pp. Illustrated. The Bruce Publishing
Co. (Milwaukee). Price $2.75.

Records: 1950 Edition. By David Hall, ix -f
524 + xx PP 8 * Alfred A. Knopf (New
York). Price $6.

NOTE: All the above books have been reviewed
in previous issues of The "Hew Records. If your local
dealer does not stock them, orders addressed to H.
Royer Smith Co., Philadelphia 7, Pa., will be promptly
filled. The prices quoted include postage to any point
within U.S.A.

The first letters In the record number Indicate the manufacturer: BG— Bach Guild, BL — Bibletone, C — Columbia, CE — Cetra, CH — Concert
Hall Society, CL — Capitol, CSM — Colosseum, CRS — Collector's Record Shop. D — Decca, DL — Dial, ESO — Esoteric, FEST — Festival,
FOLK— Ethnic Folkways Library, GIOA— Gregorian Institute of America, HS — Hadyn Society, L — London Gramophone, LYR — Lyrl-
chord, ME— Mercury, OC — Oceanic, OL— L’Oiseau Lyre, PE— Period. PH M— Philharmonia, PLM— Polymuslc, REN— Renaissance, SOT—
Sounds of Our Times, STB— Stradivari, UR— Urania, V— Victor, VAN— Vanguard, VX— Vox, and WEST— Westminster.

• Indicates LP 83% rpm.
(A Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 16

PRINTED IN U.S.A.

T he New Records

A BULLETIN FOR THOSE INTERESTED IN RECORDED MUSIC

Issued Monthly by

H. ROYER SMITH COMPANY

“The World’s Record Shop”

I0TH& WALNUT STREETS .... PHILADELPHIA 7, PA., U. S. A.

VOL. 2 I , NO . 2 APRIL. 1 953 ** mal1 *° addr «*

SI 9*t yej?

"DOR many years the art of recording was
well ahead of the instruments that were
made to play the records. In other words there
was always more on the record than the phono'
graph would reproduce. Today things have
changed, and many persons think that the new
high fidelity instruments are capable of repro'
ducing more than the present records contain.
With this in mind Audiophile Records, Inc.
has set about to produce records of an ex'
tremely wide frequency range with the lowest
possible distortion. These records are intended
primarily for those persons who are interested
in high fidelity reproducing equipment. They
might well be considered test records in which
the fidelity of recording is of the greatest iim
portance; the musical value is secondary.

Audiophile Records feels that the best pos'
sible recordings can be made at 78 rpm with
the grooves made to be played with a micro'
groove stylus. All Audiophile records should
be played with a microgroove stylus regardless
of whether they are made at 78 or 33]/3 rpm.
This should be borne in mind because if one
of these records is played with a needle whose
tip radius is greater than that of the micro
groove stylus, the record will be quickly ruined.
All Audiophile records should be played with
the same needle that you use for your LP (33J/3
rpm) discs.

For those of our readers who are interested
in high fidelity reproduction we are listing
the presently available Audiophile records.

The following records have been recorded at
78 rpm:

Organ Music. Robert Noehren (organ). PI 2" disc

(AUDIOPHILE APT) $5.50.

CONTENTS: Carillon de Westminster (Vierne);
Legende (Vierne); Prelude and Fugue on B'A'C'H
(Liszt).

Dixieland Jazz (Vol. I). Harry Blons and his Dixie'
land Band. M2" disc (AUDIOPHILE APT)
$5.50.

CONTENTS: Pop Goes the Weasel; Wolverine
Blues; Tia Juana; Lassus Trombone; Chimes Blues;
Copenhagen.

The following records have been recorded
at 33J/3 rpm:

Organ Music. Robert Noehren (organ). IT 2" disc
(♦AUDIOPHILE APT) $5.95.

CONTENTS: Carillon de Westminster (Vierne);
Scherzetto (Vierne); Divertissement (Vierne); (5)
Short Choral Preludes (Reger); Prelude and Fugue
on B'A'C'H (Liszt).

Organ Music. Robert Noehren (organ). 2T2"
discs in folder (* AUDIOPHILE APT/ 5) $11.90.
CONTENTS: (3) Chorals (Franck); Prelude,
Fugue and Variation (Franck).

If your local dealer does not stock Audio'
phile records, orders sent direct to the pub'
hshers of this bulletin will be promptly filled.

BACK COPIES

We are continually receiving requests for
back copies of The New Records. Most of
the issues published during the last twenty
years are available. The price is 10c each. A
file of all of the available issues (at least 140
copies) is $5. These prices are postpaid within
U.S.A.

OVERTURES ON RECORDS

Our studio has been flooded with releases of over'
tures, waltzes and the like recently released by sev'
eral manufacturers. Due to severe space limitations
we cannot consider each i^gue separately; but be'
cause we feel that many of our readers would like
to know of the release of these extremely popular
items, we are listing them below.

Suppe: Poet and Peasant — Overture. One side,
and Suppe: Pique Dame — Overture. London
Philharmonic Orchestra conducted by Georg Solti.
1T0" disc (*L'LD'9006) $2.95.

april The New R ecords 1953

Strauss: Die Fledermaus — Overture. One side, and
Strauss: Der Zigeunerbaron — Overture. Vienna
Philharmonic Orchestra conducted by Clemens
Krauss. MO" disc (*L'LD'9008) $2.95.

Rossini: L’ltaliana in Algeri — Overture. One side,
and Rossini: Don Pasquale — Overture. New
Symphony Orchestra conducted by Alberto Erede.
MO" disc (*L'LD'9010) $2.95.

Herold: Zampa — Overture. One side, and Adam:
Si J’Etais Roi — Overture. London Philharmonic
Orchestra conducted by Jean Martinon. MO"
disc (*L'LD'9011) $2.95.

Rossini: II Barbiere di Siviglia — Overture. One side,
and Nicolai: The Merry Wives of Windsor —

Overture. L’Orchestre de la Suisse Romande con'
ducted by Victor Olof. MO" disc (*L'LD'9012)
$2.95.

Beethoven: Prometheus Overture, Op. 43. One
side, and Beethoven: Fidelio — Overture. London
Philharmonic Orchestra conducted by Eduard van
Beinum. MO" disc (*L'LD'9024) $2.95.

Weber: Oberon — Overture. One side, and Weber:
Euryanthe — Overture. Vienna Philharmonic Or'
chestra conducted by Karl Bohm. MO" disc
(*L'LD'9002) $2.95.

Mozart: Magic Flute — Overture. One side, and
Mozart: Don Giovanni — Overture. London Sym'
phony Orchestra conducted by Josef Krips. MO"
disc (*L'LD'9001) $2.95.

Beethoven: Leonore Overture No. 3, Op. 42a.
One side, and Beethoven: Consecration of the
House Overture, Op. 124. London Philharmonic
Orchestra conducted by Eduard van Beinum. MO"
disc (*L'LD'9022) $2.95.

R. Strauss: Der Rosenkavalier — Waltzes. One side,
and Humperdinck: Hansel und Gretel — Dream
Pantomime. London Philharmonic Orchestra con'
ducted by Anthony Collins. MO" disc (*L'LD'
9025) $2.95.

Beethoven: Egmont Overture, Op. 84. One side,
and Beethoven: Coriolan Overture, Op. 62. Lon'
don Philharmonic Orchestra conducted by Eduard
van Beinum. MO" disc (*L'LD'9021) $2.95.

Massenet: Phedre — Overture. One side, and Saint
Saens: La Princesse Jaune — Overture. L’Or'
chestre de l’Opera Comique (Paris) conducted by
Albert Wolff. MO" disc (*L'LD'9020) $2.95.

Strauss: Wine, Women and Song Waltz. One side,
and Strauss: Wiener Blut. London Symphony
Orchestra conducted by Josef Krips. MO" disc
(*L'LD'9013) $2.95.

Nielsen: Helios Overture. One side, and Schultz:
Serenade for Strings. Danish State Radio Sym'
phony Orchestra conducted by Erik Tuxen. MO"
disc (*L'LS'653) $4.95.

ORCHESTRA

Berlioz: Symphonie Funebre et Triomphale,Op. 15.
Great Symphonic Brass Orchestra of Cologne,
String Orchestra of Cologne, and Chorus of the
Kolnischer Chor conducted by Fritz Straub. M2"
disc (*LYR'LL'40) $5.95.

Berlioz: Romeo and Juliet, Op. 17 (abridged).
PhilharmoniC'Symphony Orchestra of New York
conducted by Dimitri Mitropoulos. M2" disc
(*C'ML'4632) $5.45.

Cecil Gray once wrote, very astutely, concerning
the listener’s reaction to the music of Berlioz, “either
you receive at once, from the very first work of his
that you hear, a thrill akin to an electric shock, or
else you are completely insulated and rendered for'
ever immune by a pachydermatous hide of indiffer'
ence or distaste.”

Originality, a quality Berlioz possessed to a greater
degree than any other composer, is what Gray had
in mind when he wrote the above; and originality
is the keynote of the Fourth Symphony, the Sym'
phonie Funebre et Triomphale. This astonishing
score was written to honor the heroic dead of the
Revolution of 1830. The work was first heard in
July 1840 and is divided into three sections, a kind
of drama in three acts. First is the funeral procession
proper, then a more personal tribute in the form of
a funeral oration which leads into the finale, an
apotheosis, a song of triumph. It is thoroughly mag'
nificent music from start to finish — the finest funeral
music, incidentally, this reviewer has ever heard,
bar none. The extraordinary blend of sublimity and
tenderness, the titanic sweetness of the music is
peculiar to Berlioz. The performance and recording
are equally good, and much is added to the listener’s
enjoyment by Jacques Barzun’s informative notes.
A must for all Berliozians and worth investigation
by all serious music lovers.

The second item, the Romeo et Juiliette Symphony,
is a profound disappointment. To begin with, Colum'
bia’s statement identifying the record as “the com'
plete orchestral score” is deliberately misleading.
What the disc amounts to is the usual three orches'
tral portions Romeo's Reverie, the Love Music
(chorus omitted) and the i-^ueen Mab scherzo plus
two small orchestral fragments at the beginning and
end. Of Dimitri Mitropoulous’ direction, one can
only brand it as insensitive. He uses a large orchestra
in the scherzo, with the result that Queen Mab’s
tiny chariot does not seem to be drawn by gnats but
by the brewer’s big horses. By lending his name to
such a travesty of this great score Mitropoulous adds
nothing to his artistic stature — rather the opposite.

Columbia's recording is excellent — one could only
wish their taste were equally good. For those who
want Berlioz’ Romeo et Juliet the only sound advice
is to wait; music as fine as this will certainly receive
an adequate performance and recording before too
long. W .

* Indie* tan LP rpm.

4 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 2

APRIL

The IS lew R ecords

1953

Tchaikovsky: The Swan Lake, Op. 20. Orchestra
of the National Theatre (Prague) conducted by
Jaroslav Krombholc. 2- 12" discs in album (*UR-
URLP-404) $9.70.

Tchaikovsky: The Sleeping Beauty, Op. 66. L’Or-
chestra de la Societe des Concerts du Conserva-
toire de Paris conducted by Anatole Fistoulari.
2' 12" discs in album (*L-LL-636/7) $11.90.
There are many versions of both these works on
LP, but The Sleeping Beauty appears for the first
time in a complete edition and The Swan La\e is
here recorded completely for the second time. Fistou-
lari and the London Symphony recorded The Swan
La\e complete (*L-LL-565/6) a short time ago.
Which of the two complete Swan La\es to get is no
easy matter to decide. Fistoulari was one time chef
d'orchestre of the Ballet Russe de Monte Carlo and
knows his way around ballet scores from first hand
experience; furthermore he is an excellent conductor
of the general repertoire. Jaroslav Krombholc is a
new name to us. His reading of the Swan La\e in
the present album is no ordinary achievement. There
is an enthusiasm and an urgency in this performance
that bring new life and excitement to the music.
We had expected nothing like this from the National
Theatre Orchestra of Prague under Krombholc, but
here it is; and we must admit it was a wonderful
listening experience! Swan La\e is supposed to be
inferior to Sleeping Beauty as a musical score, but
we enjoyed it more, possibly because of the mar"
velous performance. Urania’s reproduction is splen-
did, and the orchestral crescendos are notably thrill-
ing in their range of dynamics and clarity. This
Swan La\e is so good that we think it is worth
getting the complete version rather than a disc of
the principal excerpts. The music you don’t usually
hear is as good as the popular excerpts, at least
under Krombholc’s hands.

The complete Sleeping Beauty does not appeal to
us as much as the versions which give the highlights.
The Stokowski set is a nearly complete version on
one LP (*V'LM'1010) and his reading is an inter'
esting one which we feel is quite satisfying for any-
one who wants more Sleeping Beauty than occurs
on the usual disc of excerpts. Our choice then is
for Stokowski for Sleeping Beauty and Krombholc
for Swan La\e, with plenty of other satisfactory
discs for those who disagree. S.

R. Strauss: Ein Heldenleben, Op. 40. Minneapolis
Symphony Orchestra conducted by Antal Dorati.
M2" disc (*ME-MG-50012) $5.95.

R. Strauss: Der Burger als Edelmann, Op. 60.

Vienna Philharmonic Orchestra conducted by
Clemens Krauss. 1-12" disc (*L-LL-684) $5.95.
The classic interpretation of Ein Heldenleben has
always been, and still remains, that by Mengelberg.
His first recording with the New York Philharmonic
is long since unavailable, but his recording, of a

later date, with the Amsterdam orchestra (*CL-P-
801 3 )\ is one that seems to be the measuring stick
for this work. Dedicated to Mengelberg, this over-
blown autobiography in music was so thoroughly
believed in and understood by Mengelberg that his
performance has the breadth and intensity that others
cannot seem to match. Possibly he was as great an
egotist as Strauss and the kindred spirits resulted
in his great reading of the work. Whatever it was,
Mengelberg has stated this music as few others can.

Antal Dorati and the Minneapolis orchestra offer
a reading that is valid in every respect, well played,
logical, and sincerely executed. What it may lack
in rhetoric is made up in Mercury’s reproduction,
which is of today’s best. The clarity of the full
orchestral sound is as thrilling in its transparency as
it is in sheer volume. This disc is easily the best
Ein Heldenleben in sound, and with its excellent
performance and good solo work, it is recommended
to those who wish the work, with the exception of
those who want a legendary interpretation even if
less desirable reproduction — then it is Mengelberg.
All other recordings including that by Strauss him-
self, fit somewhere between these two in the matters
of reproduction and interpretation.

Der Burger als Edelmann is more familiarly known
as Le Bourgeois Gentilhomme or “The Would-Be
Gentleman.’’ It is available on LP conducted by
Fritz Reiner and also by Strauss himself. Clemens
Krauss and the Vienna Philharmonic provide a beau-
tiful account of the music and also enjoy by far the
best reproduction. The nine sections of this work,
while contrasted, are for the most part much more
tame than most of Strauss’ work, and this music has
seemed as something peculiar and out of the way for
Strauss fans. It is actually quite charming and prob-
ably better than some of Strauss’ things which pro-
duce goose-flesh. S.

Goeb: Symphony No. 3. Leopold Stokowski and
His Symphony Orchestra. One side, and Bartok:
Sonata for Two Pianos and Percussion. Gerson
Yessin and Raymond Viola (pianos) and Elayne
Jones and Alfred Howard (percussion). 4-7"
discs in box (0V-WDM-1727) $5.14. 1-12" disc
(*V-LM-1727) $5.72.

For those willing to explore new paths , in music,
this disc will provide the finest material. Both of the
works here recorded are, according to Mr. Stokowski,
something new in music. Bartok, in particular, has
achieved a new music in his work. Bartok absorbs
all earlier conceptions of sonata form, and develops
them boldly in several new directions with his own
personal creative vitality. He combines the percussive
possibilities of the piano with the precise rhythmic
dynamics of the timpani and<xylophone in a perfect
blending unparalleled in all music so far. There are
many fine shadings in the percussion writing and
Stokowski and his players explore them perfectly in
the performance. The program notes for both works

• indicate* LP 18^ rpai
0 indicate* 45 rpoe

PAGE 3

'THE WORLD'S RECORD SHOP'

APRIL

r \he New "Records

1953

on this disc appear over Stokowski’s signature, so
we assume he wrote them — they sound like him.
These program notes are among the best it has been
our pleasure to read in many a reviewing session,
and we wish Stokey would write all of RCA’s notes,
as well as a few other companies’. You will find
them informative and indeed helpful when studying
the music recorded. We have borrowed freely from
them in descriptive matter in this short review.

Stokowski claims Goeb’s music is one of the many
expressions today of the independence of American
Culture in general. Today the most talented Ameri'
can composers are expressing through Tone and
Rhythm our conception of the life of action and
feeling of America. Goeb is one of the most out'
standing of these. He says further that, frankly, this
highly developed and deeply original symphony will
not be understood by one hearing. A detailed inteh
lectual analysis of its themes and structure might
confuse the listener. Only repeated listening, with
an open mind and heart, will reveal its musical mes'
sage with clear forms and eloquent expression of its
depth of feeling.

We think this record is of exceptional merit and
recommend it highly to anyone interested in some'
thing new and worth while in modern music. Sto'
kowski has no peers in presenting music of this sort,
and his results here are obviously wonderful. The
reproduction is superb, with the difficult percussion
captured excellently. S.

Mozart: Serenade No. 10 in B-flat, K. 361. Los

Angeles Woodwinds conducted by William Stein'
berg. M2" disc (*CL'P'8181) $4.98.

Mozart: Symphony No. 26 in E-flat, K. 184. One
side, and Mozart: Symphony No. 32 in G, K.
318. Bamberg Symphony Orchestra conducted by
Fritz Lehmann. MO" disc (*D'DL'4045) $2.50.
These two Mozart discs are welcome on several
counts. The Serenade No. 10 in B Flat is a real
major work; and this is the first really satisfactory
performance and recording of it, although three are
now available. Koussevitzky’s effort for Victor (TNR
June ’49) misses fire completely due to his inability
to grasp the Mozart style while Vox’s performance
(TNR Mar. ’50) was dull and poorly played. It
was so poor that this reviewer was inclined to think
the fault Mozart’s (he should have known better!).

The Serenade dates from 1781 and is a true
masterpiece from beginning to end. The enjoyment
of the sheer sound that emanates from the wind
group is one of the most fascinating musical expe'
riences. How Mozart explores the combinations and
colorings of the instruments is indescribable. A quartet
of clarinets and basset horns, a sextet of oboes, basset
horns and bassoons over the supporting double bass
— such are a few of the combinations and the melo'
dies are among the most ravishing Mozart ever
wrote.

Mr. Steinberg and his musicians play the work

• Indicates LP SS]/ 3 rpm.
0 indicates 45 rpm.

superbly and to the hilt. All the repeats, one is glad
to note, are observed, thus preserving the formal
structure of the piece. One digression has been made
— a contra'bassoon is used in addition to the con'
ventional double bass Mozart called for. There
seems to be some confusion as to which instrument
should be used, but Mr. Steinberg's inclusion of
both is a happy one as is evidenced by this perform'
ance. Capitol’s recording is virtually perfect.

The little Decca record, with its modest price, is
also a decidedly worthwhile release. The first record'
ing of the Symphony No. 26 in E Flat is cause for
rejoicing and the present waxing of the Symphony
No. 32 in G is superior technically to the older
Capitol'Telefunken disc. Neither of these works can
be called a “Symphony” in the present sense of the
word; rather they are overtures (Italian — fast'slow'
fast). Indeed, the Symphony No. 32 is strongly
suspected of being the overture to the incomplete
Zaide (TNR Jan. ’53). Both are well played, finely
recorded and decidedly worth owning. W.

Dvorak: Slavonic Dances, Op. 46 (complete). Two
sides, and Dvorak: Slavonic Dances, Op. 72

(complete). Czech Philharmonic Orchestra con'
ducted by Vaclav Talich. 2' 12" discs (*UR'
URLP'604) $11.90.

Dvorak: Slavonic Dances, Op. 46 (complete).
Czech Philharmonic Orchestra conducted by Vac'
lav Talich. M2" disc (*UR'URLP'7076) $5.95.
The set that Talich and the Czech Orchestra made
for Victor some years ago of these Slavonic Dances
has been the criterion, and we are fortunate that
the same forces now have this music in modern
reproduction. And for once, the new recording is
even better in performance than the former one.
So often the remake lacks the sparkle and inspiration
of the original effort; but this time there is more
finish and polish to both the interpretation and the
performance. Talich is clearly the greatest inter'
preter this wonderful music has ever had, and his
present album is beyond comparison with anything
else on discs. It is also complete, for both Op. 46
and Op. 72 are presented in their entirety. The quality
of the reproduction is something of a surprise, for
it is equal to the best work of our “free” countries,
and mirrors the performances faithfully. Urania is
to be congratulated in every respect for this set.

What there is about Talich’s way with the Dvorak
Slavonic Dances that distinguishes it from other
conductors’ readings is hard to describe. He is full
of dash and enthusiasm in the lively dances and
equally as effective in the slower ones with a serene
and reflective manner. Talich must have a thorough
understanding of the music, its idiom, its meaning,
and a genuine love for it all. He does not negate
any of this with virtuoso tricks of conducting; every'
thing sounds perfectly natural and easy. You just
have to hear this set to appreciate its quality. S.

H. ROYER SMITH COMPANY

PAGE 4

APRIL

1953

T he Nm R ecords

Schubert: Symphony No. 9 in C (“Great"). Vienna
Philharmonic Orchestra conducted by Herbert
Von Karajan. M2" disc (*C'ML'4631) $5.45.
Just last month we reviewed the Schubert 7s linth
as recorded by Furtwangler and the Berlin Phil'
harmonic (*D'DX'119) and found it outstanding.
Von Karajan presents a reading of the work which
is vastly different, to our ears, from Furtwangler.
In Von Karajan’s hands the work is scaled down,
is more closely knit, moves along in an orderly and
businesslike fashion, and hardly earns the title of
“Great.” It is not necessarily a hurried performance,
but it seems to lack strength and conviction. It
certainly has not the muscular energy and fire of
the Toscanini reading, for those who like a gallop'
ing, straightforward performance. And it has not
the intensity and cumulative power of the Walter
reading. Needless to say, it lacks the lofty air of
the Furtwangler reading. We feel that Von Karajan’s
reading it not bad; it is just not exceptional, nor of
a calibre which this music deserves. In this case,
good is not good enough.

Whoever was conducting the Vienna Philharmonic
in whatever interpretation of the Schubert tynth
would result in some beautiful playing by this re'
nowned group, and you will hear moments of mag'
nificent orchestral eloquence by an orchestra steeped
in Schubertian tradition. The reproduction is of the
bright, clear, and lively variety, very telling, and
bordering on thinness once in a while. Again a great
contrast to the admired Furtwangler recording,
where the reproduction is big, bloomy, and rich,
bordering on thickness. Well, whatever the prospec'
tive purchaser's taste may be, he will find something
in a Schubert T^inth to enjoy, for about every kind
of performance and reproduction are now on LP.
Just be sure to ask for the Schubert “Great” C major
symphony, for some of the companies, including
Columbia, still label it the “Seventh.” S.

Kodaly: Hary Janos — Suite. One side, and Bartok:
Divertimento for String Orchestra. Minneapolis
Symphony Orchestra conducted by Antal Dorati.
4'7" discs in box (0V'WDM'175O) $5.14. M2"
disc (*V'LM'1750) $5.72.

The pairing on this disc is good, with two compo'
sitions by Hungarian composers, but of a nicely con'
trasting style. The Bartok Divertimento is much
more lighthearted and gay than most of his works,
and is quite easy to listen to the first time, even for
those not attuned to contemporary musical styles.
It was composed in the short period of two weeks
during the summer of 1939 and is the second of two
works which Bartok composed for string orchestra
alone (the first preceded it by many years). It is
in three movements. Dorati offers a splendid reading
in a recording more pleasant soundifig than the
other LP version by Tibor Serly (*BARTOK BRS'
905).

Kodaly’s Hary Janos Suite, a great favorite of

ours, received a warm and enthusiastic review here
when it was issued by Ormandy and the Philadel'
phians (*C'ML'4306) (TNR Aug. ’50). A com'
pejlrison of the two discs shows Ormandy has not been
nudged out of first place by this newer issue of
Dorati. The reproduction of the Ormandy disc is
fuller and bolder with a richer texture, if a tiny bit
less clarity at times. The performance has a finer
finish and often more dash and vigor under
Ormandy’s hands. Dorati’s reading is indeed good,
and the performance and reproduction are also good;
but Ormandy’s is better, as one can hear by playing
both discs. We have heard better playing by the
Minneapolis Orchestra under Dorati in later record'
ings on the Mercury label.

If the Hary Janos Suite is what you seek, get
Ormandy. If you prefer the Dorati coupling, it is
a highly acceptable second choice. S.

Ellington Uptown. Duke Ellington and his Orches'
tra. M2" disc (*C'ML'4639) $5.45.
CONTENTS: S\in Deep ; The M ooche; Ta\e the
“A” Train; A Tone Parallel to Harlem; Perdido.

In the study of the art form of Hot Jazz the
phonograph record is the thing, for in jazz the selec'
tion being played is but a means to an end; the
artists, the arrangement, the spirit at the actual re'
cording session — these are what are studied. A new
recording of Louis Armstrong’s Potato Head Blues,
even by Louis himself, would be impossible, any
more than it would be possible to have a second
Battle of Midway; the situation at a new recording
session would be different — perhaps better, perhaps
worse — but different all the same.

And this is indeed unfortunate. There has been
considerable clamoring among jazz enthusiasts for
the issuance of good jazz on wide range records;
they feel they are entitled to “hi'fi” jazz just as
classical music lovers are entitled to good reproduc'
tion on their discs. However, because much good
jazz was recorded in the late twenties and early thir'
ties, such recordings must remain in the category
“reproduction — fair.”

It therefore gives us pleasure to be able to an'
nounce that Columbia has issued this month a re'
cording of the immortal Edward Kennedy “Duke”
Ellington, the reproduction of which is second to
none. The band, including the soloists, was “up”
for this fortuitous session. Jazz lovers will want this
disc; it may well bode better things to come in the
reproduction of Le Jazz Hot. J.

Delius: Eventyr (“Once Upon a Time”). One side,
and Delius: North Country Sketches. Royal Phil'
harmonic Orchestra conducted by Sir Thomas
Beecham. M2" disc (*C'ML'4637) $5.45.
Whenever we see the names of Delius and
Beecham together as we do on this disc we are very
sure that we are going to listen to some unusual and
thoroughly delightful music. We were not disap'
pointed when we listened to the present LP record.

PAGE 5

"THE WORLD'S RECORD SHOP"

Indicates LP 83 rpni.
0 Indicates 45 rpm.

APRIL

like New Records 1953

. . . Eventyr was inspired by a collection of Nor'
wegian folk stories that came to Delius' attention.
Just as the stories are full of fantastic spirits, giants,
kelpies and hobgoblins, so is Delius' music filled with
musical suggestions of these legendary creatures. We
found it fascinating. . . . Worth Country Sketches
was inspired by the countryside of Yorkshire, and
the four sections are entitled: Autumn, the wind
soughs in the trees; Winter Landscape; Dance; The
March of Spring. ... If you know Delius, you will
certainly wish to hear this record; if you don't, here
is a good opportunity to make the acquaintance of an
unique figure in the world of music.

New Year Concert 1953. Vienna Philharmonic Or*
chestra conducted by Clemens Krauss. 1-1 2" disc
(*L-LL-683) $5.95.

CONTENTS: Dorfschwalben aus Osterreich;
Moulinet ; Ohne Sorgen; Feuerfest (Josef Strauss).
Stadt und Land; A uf der Jagd; Morgenblatter; Ritter
Pasman; Perpetuum Mobile (Johann Strauss).

"Each year Vienna, the city for which the Strauss
family composed their greatest pieces, presents a pro-
gram dedicated to their honor. The material is
selected by popular request and played on the first
day of January by the world-famous Vienna Philhar-
monic Orchestra under the direction of Clemens
Krauss. London has previously been privileged to
bring you the contents of these programs through
recordings made prior to the actual concert. The
success of the first recording (*L-LL-484) has en-
couraged us to embark upon these annual events
as a part of our regular recording schedule. This
present collection is the second in the projected
series."

The above paragraph is quoted from London's an-
nouncement of the present LP disc and, we feel,
fully describes it. All that we believe it is neces-
sary to add is that the reproduction is ffrr at its best.

Goldmark: Symphony, Op. 26 ("Rustic Wedding").
Royal Philharmonic Orchestra conducted by Sir
Thomas Beecham. 1-12" disc (*C-ML-4626)
$5.45.

Rather than a symphony, this is a suite of musical
tableaux that are illustrative of the program sug-
gested by the title of each movement. These move-
ments are marked, Wedding March, Bride’s Song,
Serenade, In the Garden, and The Dance. It is pic-
turesque and full of captivating melodies, prevail-
ingly gay and sentimental, and is a romantic master-
piece of its kind. While not as frequently heard
today on concert programs as it was around the turn
of the century, it is worthy of a good performance
now and then. It has had several recordings, all of
them good; but none of them exceed the present one.

The only other version available on LP is by
Swoboda and the Vienna State Opera Orchestra
(*CH-CHS-1138), and while it is a good job,
Beecham easily runs away with the honors. Sir

Thomas handles this score with the delicate percep-
tion which marks his best work. The gracefulness
with which he turns the phrases is indeed a joy.
His sense of balance and his innate good taste bring
a freshness to his reading of this lovely music that
we doubt could be bettered. The Royal Philharmonic
performs superbly, and their tone and the way it
is reproduced add to the over-all effectiveness of
this disc. We would give this record our highest
endorsement from every standpoint. S.

Beethoven: (12) Contretanze. One side, and
Beethoven: (11) Wiener Tanze. Vienna State
Orchestra conducted by Franz Litschauer. 1-12"
disc ( *VAN-VRS-429 ) $5.95.

Grieg: (4) Norwegian Dances, Op. 35. One side,
and Sibelius: Rakastava Suite, Op. 14 and
Sibelius: Valse Triste, Op. 44. Vienna State
Opera Orchestra conducted by Franz Litschauer.
1-12" disc (*VAN-VRS-430) $5.95.

Strauss: Pizzicato Polka. Berlin Philharmonic Or-
chestra conducted by Ferenc Fricsay. And Strauss:
If You Please and Strauss: Leichtes Blut,
Schnell-polka, Op. 319 ("High Spirits"). Wurt-
temberg State Orchestra conducted by Ferdinand
Leitner. One side, and Strauss: Annen Polka,
Op. 117 and Strauss: Tritsch-Tratsch, Op. 214.
RIAS Symphony Orchestra conducted by Ferenc
Fricsay. 1-10" disc (*D-DL-4043) $2.50.

Sibelius: Finlandia, Op. 26, No. 2 and Sibelius:
Festivo, Op. 25, No. 3. One side, and Sibelius:
Swan of Tuonela, Op. 22, No. 3 and Sibelius:
Valse Triste, Op. 44. London Symphony Orches-
tra conducted by Anatole Fistoulari. 1-10" disc
(*MGM-E-166) $3.

We have grouped these LP discs together because
they all contain music that is tuneful and easy to
enjoy. For the most part it is music that one is likely
to encounter at summer concerts of fine orchestras.
These selections are intended for the pleasure of
the listeners, and so we suggest that you relax and
enjoy them. They have been beautifully played and
splendidly recorded.

Slaughter on 10th Avenue and other Ballet Selec-
tions. Boston Pops Orchestra conducted by Arthur
Fiedler. 4-7" discs in box (0V-WDM-1726) $5.14.
1-12" disc (*V-LM-1726) $5.72.

CONTENTS: Slaughter on 10th Avenue (Rod-
gers); Rodeo — Waltz & Saturday Night Hoedown
(Copland); Fancy Free — 3 dances (Bernstein); In-
terplay — Gavotte & The Blues (Gould); Three-
Cornered Hat — Suite (Falla); Age of Gold — Polka
(Shostakovitch); Gayne — Sabre Dance (Khatcha-
turian); Sebastian — Barcarolle (Menotti); Petrou'
ch\a — Danc£ of the Ballerina & Danse Russe (Stra-
vinsky).

Arthur Fiedler has chosen a number of well-known
ballet selections for this unique and fascinating disc.

• indicates LP 8 *y 3 rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 6

APRIL

T he N^ze; R ecords

1953

They are played with fine spirit, and RCA Victor
has supplied the best of modern reproduction. This
is certainly a brilliant and stimulating record.

Chopin — trans. Britten: Les Sylphides. Ballet Thea'
tre Orchestra conducted by Joseph Levine. MO"
disc (*CL'L'8194) $3.98. Coupled with Tchai-
kovsky: Princess Aurora. IT 2" disc (*CL'P'
8193) $4.98.

Tchaikovsky: Princess Aurora. Ballet Theatre Or'
chestra conducted by Joseph Levine. MO" disc
(*CL'L'8195) $3.98. Coupled with Chopin:

Les Sylphides. M2" disc (*CL'P'8193) $4.98.

Bernstein: Fancy Free. Ballet Theatre Orchestra
conducted by Joseph Levine. MO" disc (*CL'L'

8197) $3.98. Coupled with Copland: Rodeo.
M2" disc (*CL'P'8196) $4.98.

Copland: Rodeo. Ballet Theatre Orchestra con'
ducted by Joseph Levine. MO" disc (*CL'L'

8198) $3.98. Coupled with Bernstein: Fancy
Free. M2" disc (*CL'P'8196) $4.98.

We are sure that ballet fans will be delighted to
know that Capitol has secured the services of the
orchestra of Ballet Theatre and its brilliant conductor,
Joseph Levine, for these recordings. Thus we are
assured of performances that are in the authentic
spirit of the various ballets. As Capitol has supplied
the best of reproduction, we can recommend these
recordings without reservation.

Each ballet is available separately on a 10'inch
LP disc or the four may be had on two 12'inch
discs (see listings above).

Grieg: Symphonic Dances, Op. 64. One side, and
Grieg: Norwegian Dances, Op. 35. Danish Na'
tional Orchestra of the State Radio conducted by
Eric Tuxen. M2"disc (*ME'MG'10132) $4.85.

Grieg: Peer Gynt Suite No. 2, Op. 55 and Grieg:
Norwegian Dances, Op. 35. One side, and
German: Henry VIII Dances and German:
Welsh Rhapsody. City of Birmingham Orchestra
conducted by George Weldon. M2" disc (*C'
RL'3041) $3.08.

Two moderately priced LP discs containing some
tuneful music that most anyone may enjoy — nicely
recorded by two orchestras from abroad which are
known to Americans through their recordings.

Elgar: Enigma Variations, Op. 36. Four sides, and
Brahms: Variations on a Theme by Haydn, Op.

56a (“St. Antoni Chorale”). NBC Symphony
Orchestra conducted by Arturo Toscanini. 4*7"
discs in box (0V'WDM'1725) $5.14. M2" disc
(*V'LM'1725) $5.72.

Here is a Toscanini record that we can recom'
mend without reservation. We are sure that most
music lovers will agree with us that the present disc
contains the best recorded versions of these well'
beloved selections.

CONCERTO

Brahms: Concerto No. 2 in B-flat, Op. 83. Artur

Rubinstein (piano) with the Boston Symphony
Orchestra conducted by Charles Munch. 4'7"
discs in box (0V'WDM'1728) $5.14. M2" disc
(*V'LM'1728) $5.72.

Brahms: Concerto No. 2 in B-flat, Op. 83. Monique
de la Bruchollerie (piano) with the Pro Musica
Orchestra (Stuttgart) conducted by Rolf Rein'
hardt. M2" disc (*VX'PL'7950) $5.95.

The Brahms Second Concerto was reviewed in the
January TNR in a new version by Backhaus with
the Vienna Philharmonic under Schuricht (*L'LL'
628). This recording we found to be the best of the
available LP's. That makes things difficult with re'
spect to the present set by Rubinstein and Munch,
for it is a wonderful performance. When Rubinstein
appeared for the first time with the Boston Symphony
at Tanglewood last August, he scored highly when
he performed this work. It was considered a mem'
orable interpretation, with authority and grand mu'
sicianship. RCA Victor lost no time in getting a
recording by the same forces, which incidentally,
presents the Boston orchestra in one of its rare roles
as accompanist.

We will not bother to repeat or amplify our re'
marks in the January review concerning this con'
certo, except to state that it is one of the very great
works in this form — to many the finest among all
piano concertos. It is no easy matter to turn out a
fine performance of the work. The orchestra plays
a large part in the score, with the piano often sub'
merged in the fabric as an orchestral instrument.
The problem of balance in a recording of the work
is important considering the nature of the score.

Of the two versions, Backhaus and Rubinstein,
we cannot state an honest preference for one above
the other. They are not so similar, but they are both
beautiful readings. Backhaus is somewhat more di'
rect and solid; Rubinstein is more mellow and resih
ient. Both are done in the grand manner with a
broad, healthy, large'scale approach. And both em
joy excellent reproduction with good piano tone
and admirable balance. So far we have not men'
tioned the Vox disc by Monique de la Bruchollerie.
She is a gifted pianist, and her performance of the
Brahms Second is a fine one. It does not, however,
equal Rubinstein or Backhaus, nor does the accom'
paniment match the others. The reproduction is
only a shade under Victor's and London's. One
thing we did not like in the Vox disc is the business
near the end of the first movement where piano, or'
chestra, and reproduction get out of hand and work
against one another to the point where there is some
odd'sounding hash. We recommend either Rubin'
stein or Backhaus as superb examples of how this
concerto should sound. S.

PAGE 7

"THE WORLD'S RECORD SHOP"

* Indicates LP 88^ rpm.
0 indicates 45 rpm

APRIL

The N ew Records 1953

Stravinsky: Piano Concerto (1923/4). Soulima
Stravinsky (piano) with the RCA Victor Sym*
phony Orchestra conducted by Igor Stravinsky.
Four sides, and Stravinsky: Scherzo a la Russe.
RCA Victor Symphony Orchestra conducted by
Igor Stravinsky. One side, and Stravinsky: (2)
Russian Church Choruses (“Pater noster;'' “Ave
Maria”). Chorus of Men and Boys conducted by
Igor Stravinsky. 3 '7" discs in box (0V'WDM'
7010) $3.99. MO" disc (*V'LM'7010) $4.67.

A recent LP recording of the Stravinsky Concerto
by Mewton'Wood (*CH'CHS'l 160) is easily super'
ceded by the present disc, if for nothing more than
the unquestioned authenticity of this recording.
Stravinsky is an excellent conductor and interpreter
of his own works, and in a composition of this nature
his version is unquestioned. This concerto was the
medium through which he made his bow to the gen'
eral public as a concert pianist, between 1924 and
1933. After performing it himself more than forty
times, Stravinsky used it to introduce his son, SviatO'
slav, to the Parisian public, and now it introduces
the team of Igor and Soulima Stravinsky on phono'
graph records. The end movements are biting, closely
packed, jittery, and percussive, and typical of much
of Stravinsky's writing. If you like Stravinsky, this
will appeal you; if you prefer the Grieg and Schu'
mann concertos in style, stay away from this disc.
The reproduction is excellent.

The Scherzo a la Russe is one of a number of
short, light pieces which Stravinsky composed for
various American organizations when he first came
to settle in this country. It was written in 1944 for
Paul Whiteman's radio orchestra and was later re'
scored for full symphonic ensemble. It is clever and
enjoyable.

The two Russian Church Choruses are among
Stravinsky's rare contributions to the literature of
the unaccompanied choir. Both were originally com'
posed to texts in Old Slavonic for use in the liturgy
of the Russian Church, the Pater poster in 1926
and the Ave Maria in 1934. In 1949 both were re'
written and adapted to the Latin texts used here.
They will come as a pleasant surprise to most folks,
for they are effective, appropriate settings. S.

CHAMBER MUSIC

Dvorak: Serenade in D minor, Op. 44. London
Baroque Ensemble conducted by Karl Haas. MO"
disc (*D'DL'7533) $3.85.

Karl Haas and his London Baroque Ensemble,
which has gained fame pretty much throughout the
world via BBC broadcasts, is now becoming known
to discerning music lovers in the United States by
means of Decca records. The present Dvorak Sere'
nade is quite enticing as played by this unique group
of seasoned and accomplished players.

Mozart: Quartet No. 1 in G minor, K. 478. One
side, and Beethoven: Quartet in E-flat, Op. 16.

New York Quartet: Mieczyslaw Horszowski
(piano), Milton Katims (viola), Alexander
Schneider (violin), Frank Miller (violoncello).
M2" disc (*C'ML'4627) $5.45.

Mozart: Quartet No. 19 in C, K. 465. One side,
and Mozart: Quartet in D minor, K. 421. Vienna
Konzerthaus Quartet. M2" disc (*WEST'WL'
5175) $5.95.

Mozart: Quartet No. 1 in G minor, K. 478. One
side, and Mozart: Quartet No. 2 in E-flat, K.
493. Clifford Curzon (piano) with members of
the Amadeus Quartet. M2" disc (*L'LL'679)
$5.95.

Mozart: Divertimento No. 10 in F, K. 247. Mem'
bers of the Vienna Octet. MO" disc (*L'LS'682)
$4.95.

Mozart: Divertimento in E-flat, K. 563. Bel Arte
Trio: Ruth Posselt (violin); Joseph DePasquale
(viola); Samuel Mayes (violoncello). M2" disc
(*D'DL'9659) $5.85.

All of this Mozart chamber music is already
available on LP records, thus we are simply listing
these discs so that our readers will know that they
have been released.

Beethoven: Sonata No. 2 in G minor, Op. 5, No. 2.
One side, and Beethoven: Sonata No. 3 in A,
Op. 69. Janos Starker (violoncello) and Abba
Bogin (piano). M2" disc (*PE'SPL'560) $5.95.

Beethoven: Sonata No. 1 in F, Op. 5, No. 1 . One
side, and Beethoven: Sonata No. 4 in C, Op.
102, No. 1 and Beethoven: Sonata No. 5 in D,
Op. 102, No. 2. Janos Starker (violoncello) and
Abba Bogin (piano). 1-12" disc (*PE'SPL'561 )
$5.95.

Beethoven: (5) Sonatas for Violoncello and Piano.

Janos Starker (violoncello) and Abba Bogin
(piano). 2-1 2" discs in box (*PE'SPL'562)
$12.55.

Beethoven: Sonata No. 1 in F, Op. 5, No. 1 . One
side, and Beethoven: Sonata No 2 in G minor,

Op. 5, No. 2. Antonio Janigro (violoncello) and
Carlo Zecchi (piano). M2" disc (*WEST'WL'
5170) $5.95.

Beethoven: Sonata No. 3 in A, Op. 69. One side,
and Beethoven: Variations on Mozart’s "Bie
Mannern Welche Liebe Fuhlen” in E-flat.

Antonio Janigro (violoncello) and Carlo Zecchi
(piano). M2" disc (*WEST'WL'5173) $5.95.

Beethoven: Sonata No. 4 in C, Op. 102, No. 1.
One side, and Beethoven: Sonata No. 5 in D,
Op. 102, No. 2. Antonio Janigro (violoncello)
and Carlo Zecchi (piano). M 2" disc (*WEST'
WL'5180) $5.95.

Here we have Beethoven's Sonatas for Violon'

* Indicate! LP 83 rpm.
0 indicate* 45 rpm.

H. ROYER SMITH COMPANY

PASS 8

1953

april The N^ze; Records

cello and Piano played by the Hungarian violon*
cellist, Janos Starker and the Italian player, Antonio
Janigro. Each is joined by a very able pianist. We
have listened to each set very carefully and we can'
not choose between them. The excellence of both is
so marked that any choice that we might make
would not be valid.

Brahms: Quartet No. 2 in A. Clifford Curzon
(piano) with members of the Budapest String
Quartet. M2" disc (*C'ML'4630) $5.45.
Brahms: Quartet No. 2 in A minor, Op. 51, No. 2.
One side, and Brahms: Quartet No. 3 in B-flat,
Op. 67. Curtis String Quartet. M2" disc (WEST'
WL'5152) $5.95.

Brahms: Trio in E-flat, Op. 40. Walter Barylli
(violin), Franz Koch (horn), Franz Holletschek
(piano). One side, and Brahms: Trio in A
minor, Op. 114. Franz Kwarda (violoncello),
Leopold Wlach (clarinet), Franz Holletschek
(piano). M2" disc (*WEST'WL'5146) $5.95.
As all of this Brahms chamber music is already
available on LP records, we will limit ourselves to
just a listing of these discs with the exception that
we will call attention to the very excellent recording
of the Quartet T^o. 2 in A by Clifford Curson
(piano) and members of the Budapest String Quartet.
We surely feel that this recording deserves especial
mention.

Bartok: Sonata for Two Pianos and Percussion.

Gerson Yessin and Raymond Viola (pianos) and
Elayne Jones and Alfred Howard (percussion).
One side, and Goeb: Symphony No. 3. Leopold
Stokowski and His Symphony Orchestra. 4'7"
discs in box (0V'WDM'1727) $5.14. M2" disc
(*V'LMT727) $5.72.

NOTE: For review of this disc see under OR'
CHESTRA.

Verdi: Un Ballo in Maschera (complete). (Sung
in Italian). Maria Caniglia (soprano); Beniamino
Gigli (tenor); Fedora Barbieri (contralto); Gino
Bechi (baritone); Chorus and Orchestra of the
Opera House (Rome) conducted by Tullio Sera'
fin. 9'7" discs in box (0V'WCT'6OO7) $11.44.
2' 12" discs in album (*V'LCT'6007) $11.44.
(This annotation is reprinted from the November
1947 issue. It appeared in this place when the im'
ported recording of this wor\ was reviewed .)

A new, imported, complete Un Ballo in Maschera
is a notable addition to the growing list of recorded
operas. The new Ballo is a valuable addition, for
Verdi’s fine old opera, so typical of his middle period
as well as being a treasure chest of lovely Verdian
melodies, deserved the honor of perpetuation in its
entirety (only one or two short traditional cuts are
made) on wax.

Tullio Serafin, remembered for his many distim
guished performances at the Metropolitan, is the au'
thoritative and dynamic conductor. With the orches'
tra of Rome’s Royal Opera House at his disposal,
his fervor is such that it tends sometimes to cover
the singers.

The singers are important artists. Beniamino Gigli
is the Riccardo. He gives an unusually lyric perform'
ance of a role that can stand more impassioned and
dramatic treatment. The famous tenor with the love'
liest voice since Caruso is beginning to show his
age in this set. He sings with great care, often spar'
ingly. The old reckless abandon to the tumult of the
moment, the ringing prolonged climaxes are no longer
present. Mr. Gigli moves with obvious caution in
the superb and very taxing love'duet of the second
act. Nevertheless, he manages to arrive without mis'
hap on the final high C with Mme. Caniglia, who
overwhelms him throughout. The tenor’s laughing
phrases in the famous Quintet are overdone. One
has only to listen to Caruso and Bonci’s records of
this passage to realize that Mr. Gigli’s mirthless
cackles are not altogether successful. Granting a loss
of brilliance and sustaining power — the inevitable
toll of time — Gigli is nevertheless Gigli, a tenor of
whom we have always expected so much that he
makes us super'critical. The tenor’s singing is still
smooth, cleanly phrased and many times of lovely
quality.

Maria Caniglia, the opera’s unfortunate heroine,
Amelia, falls somewhat short of the great standard
she set for herself in the Forza del Destino albums.
Her singing here is notable for its dramatic impact
and vitality. Her best moment is a superbly sung
Morro, ma prima in grazia, in which she sustains her
reputation as Italy’s finest dramatic soprano of the
day.

Gino Bechi, the Renato, gets off to a slow start.
His opening aria, Alla vita che t’arride, finds him
not at ease. During the first two acts his unsteady
tones have trouble piercing maestro Serfin’s highly'
geared orchestra. However, in the third act he comes
into his own with a nobly sung Eri tu? At its best,
it is a commanding voice.

There is a full'toned Ulrica in Fedora Barbieri, and
the music of the joyous little page, Oscar, is fluently
and brightly sung by Elda Ribetti. Tancredi Pasero
and Ugo Novelli are properly ponderous as those
wicked conspirators with the Rover Boys names —
Sam and Tom. Max de Schauensee

Rossini: II Barbiere di Siviglia (complete). (Sung
in Italian). Victoria de los Angeles (mezzo'SO'
prano), Nicola Monti (tenor), Gino Bechi (bari'
tone), Nicola Rossi'Lemeni (basso), Milan Sym'
phony Orchestra and Chorus conducted by Tullio
Serafin. 3' 1 2" discs in r album (*V'LM'6104)
$17.16.

Rossini’s fortunately indestructable II Barbiere di
Siviglia appears this month in its second complete

PAGE 9

"THE WORLD'S RECORD SHOP"

Indicates LP 88 Vy rpm
0 Indicates 45 rpzn.

APRIL

1953

The New Records

LP recording and barely survives the callous treat'
ment it receives. One has doubts as early as the
overture wherein Maestro Serafin tips his hand, so
to speak, for the sparkling prelude is given a “read'
ing,“ complete with acelerandi, exaggerated crescendi
and overall general fussiness. One’s fears are allayed
slightly by the beautiful aubade Ecco ridente in cielo
but shortly after this delightful bit, Figaro, in the
person and voice of Gino Bechi comes bouncing in
and all attempts at a musical performance fly out the
window. From here on it becomes a musical rat
race with everyone, with the exception of Miss
de los Angeles (who is obviously too much of a
lady for such shenanigans) hooting and hollering
and acting like a group of rank amateurs.

Bechi is easily the worst offender. He always is
singing at top voice, is generally coarse in tonal
quality and, to be frank, becomes common and
obnoxious. Sgr. Monti as Almaviva sings well, but
after his first aria he is overwhelmed and is virtually
forced to shout in order to be heard. Rossi'Lemeni’s
performance reminds one of the immortal A1 Lopez’
remark describing a young ball player as “good
field — no hit.’’ As Basilio, Rossi'Lemeni is “good
sing — no act.’’ Dr. Bartolo’s music is gone over by
Melchiore Luise in routine fashion, and it does not
come off. This is surprising in view of his excellent
Don Pasquale of a few months back. Victoria de
los Angeles sings like her name but seems a some'
what vocally mature Rosina. It is always a pleasure
to hear her, however, and perhaps one can ascribe
her semi'failure to Serafin’s unfeeling direction.

Robert Lawrence, writing in the notes for the set,
states (in a different connection, however) that “not
many opera singers have a flair for real humor. The
grimness of their usual assignments is such that on
buffa nights they incline more to a naive romp than
to any working discipline.’’ Surely a conductor cele'
brating his fiftieth anniversary should be able to
control his singers better — or perhaps he didn’t care?
In all events the best Barbiere is the Cetra record'
ing (TNR May ’51). W.

Wagner: Die Walkiire — Act I (complete). (Sung
in German). Maria Muller (soprano), Wolfgang
Windgassen (tenor), Josef Greindl (bass), Wurt'
temberg State Orchestra conducted by Ferdinand
Leitner. Three sides, and Wagner: Gotterdam-
merung — Act II, Scene 3. (Sung in German).
Josef Greindl (bass) with Chorus of the Bavarian
State Opera and the Munich Philharmonic Or'
chestra conducted by Fritz Reiger. 2' 12" discs in
album (*D'DX'121) $11.70.

Wagner’s Der Ring des T^ibelungen is astonish'
ingly poorly represented on records for all its popu'
larity. And now, with the first act of Die Wal\ure
being issued by Decca, there are two versions of this
music but still only scattered excerpts from the other
operas in the group — none at all from Das Rhein'
gold . It is a confusing state of affairs and one that

is difficult to understand

The present recording is a fine one. Maria Muller
is a famous Sieglinde and her work will be familiar
to those attending Metropolitan performances in the
Twenties and early Thirties. Time has dealt kindly
with Mme. Muller; aside from a sense of strain on
high notes, her voice is still youthful and engaging.
As Sigmund, Wolfgang Windgassen adds to the
laurels he gained in the complete Parsifal (TNR
Apr. ’52). This young man is someone to watch,
for he has a command of style and expression that
should raise him to the top. His high notes are ring'
ing and clear, and he has a lower register that many
tenors would give a lot to possess. The brief portion
for Hunding is sung in sterling fashion by Josef
Greindl. Ferdinand Leitner’s direction is at all times
in good taste — sonorous, exciting and never lacking
in the necessary drive.

The odd side is devoted to that portion of Die
G otter ddmmerung which deals with Hagen’s prepa'
rations for Gunther’s return. It is one of the few
passages in Der Ring that makes use of the chorus.
It is ably sung and well directed.

The only previous recording on LP of the
Wal\ure music is the early Victor set with Lehmann,
Melchior and List. It is a dubbing from 78’s and
lacks the brilliance and drive of the present set ah
though it will undoubtedly have its adherents.

The recording here is excellent throughout, the
only omission is that of a libretto. There are, how'
ever, copious notes that make partial amends. W.

Donizetti: Don Pasquale (complete). (Sung in
Italian). Alda Noni (soprano); Cesare Valletti,
Armando Benzi (tenors); Mario Borriello (bari'
tone); Sesto Bruscantini (basso); Orchestra and
Chorus of Radio Italiana conducted by Mario
Rossi. 2' 12" discs in album (*CE'LP'1242)
$11.90.

Apparently to complete the cycle of three, Cetra
has issued a recording of Donizetti’s evergreen Don
Pasquale. The two previous recordings, one by
Westminster, the other from Urania, both had some
features that were excellent (TNR Feb. ’53) but
Cetra, who incidentally has a remarkable list of
recorded successes, again presents a performance that
is on a uniformly high level and superior to both its
predecessors.

Undoubtedly much of the credit for this success
belongs to Mario Rossi. There is something almost
uncanny in the manner in which he is able to breathe
life into a score and inspire his singers to perform
with style and intelligence. And he has some top'
flight artists for this recording. Sesto Bruscantini
manages to top both Corena (no mean job, inciden'
tally) of the Urania set and Luise of the Westmin'
ster. He does this, not so much by vocal endowment
(Corena shades him in this respect) as by imagina'
tion and expressiveness. Bruscantini’s Don Pasquale
is human, a half crusty, half humorous old man who

• Indicates LP 88 rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 10

APRIL

T he Nw Records 1953

is completely believable. How much is the singer's
work and how much is Rossi's direction is hard to
determine, but it is a splendid example of team work.
Alda Noni is vocally the best of the recorded Nor'
inas. She also manages to be real — capricious,
scheming and loving in turn — it is a fine portrayal.
Valetti, as povero Ernesto, is properly woebegone
and lovesick (a difficult condition) and sings with a
clear lyric tenor that is at once musical and convince
ing. Dr. Malatesta, in the person of Mario Borri'
ello, is a veritable tower of strength.

The charm of this Don Pasquale lies in its com'
plete naturalness. The asides, the laughter and other
dramatic, rather than musical effects, are handled
in superb fashion. This was undoubtedly achieved
by means of adequate rehearsal, a state of affairs
so often lacking in present day operatic perform'
ances. Thus Cetra adds another prize to its already
long series of successfully recorded Italian operas.
The extras, in the form of notes and libretto, are
models of good taste and readability. W.

Puccini: La Boheme (complete). (Sung in Italian).
Rosanno Carteri, Elvira Ramella (sopranos); Fer'
ruccio Tagliavini, Armando Benzi (tenors);
Giuseppe Taddei, Pier Luigi Latinucci (baritones);
Cesare Siepi, Piero Poldi, Mario Zorgniotti
(bassos); Orchestra and Chorus of Radio Italiana
conducted by Gabriele Santini. 2' 12" discs in
album (*CE'LP'1237) $11.90.

Cetra's entry in the Boheme sweepstakes (there
have been five other entries) is a thoroughbred and,
to continue the analogy, runs a dead heat with Lon'
don’s superb performance and recording.

A first'rate cast has been gathered together headed
by the beauteous Rosanna Carteri as Mimi; and with
Ferruccio Tagliavini as ring leader of a group of
Bohemians that includes Taddei, Siepi and Latinucci,
the singing, as may well be imagined, is on a high
level throughout the performance. Miss Carteri
brings to the role of Mimi a certain dignity, which,
coupled with the essential pathos of the character,
makes her delineation of the unhappy girl a note'
worthy one. Her voice is a clear, lyric soprano, even
throughout its range; and it is always handled with
taste and style. Tagliavini, of course, is well known
to opera lovers in this country, and his Rodolfo is
good, both vocally and histrionically. The aria Che
gelida manina is delivered in robust fashion, and the
duet that concludes the first act is deftly sung by both
artists, although a high C at the end is indulged in
for reasons best known to Tagliavini. Taddei and
Siepi are both superb vocalists and Taddei is also
an artist. In all fairness, however, it must be stated
that Seipi’s Vecchia zimara is excellently projected.
Latinucci, as Schaunard, gives a good account of
himself and the part. The lesser roles are well per'
formed and add considerably to the success of the
recording.

Gabriele Santini keeps matters well in hand and

the resultant performance has verve and polish. Cetra
has supplied what appears to be the ultimate in lib'
retti and notes. There are illustrations, drawings, a
caricature (by Caruso, no less) and pictures of the
singers, all of which are of absorbing interest and
add immeasurably to the listener’s enjoyment. W.

Caruso in Faust. Enrico Caruso (tenor), Geraldine
Farrar (soprano), Jean Gilibert (mezso'soprano),
Antonio Scotti (baritone), Marcel Journet (bass)
with orchestra. 4' 7" discs in box (0V'WCTT 103)
$5.14. M2" disc (*V'LCT'1103) $5.72.

It was in the middle of January 1910 that a group
of the world’s greatest singers converged on the re'
cording studios in Camden, N. J. The artists were
Mmes. Farrar and Gilibert and Messrs. Caruso,
Journet and Scotti — the purpose was to record por'
tions of the world’s most popular opera, Gounod’s
Faust. The results of the several recording sessions
have long been recognized as truly great phono'
graphic achievements. Certainly there has been very
little to equal and virtually nothing to surpass the
magnificent singing that was captured on wax on
those memorable days. To be sure, the means were
primitive; but, even so, the greatness of the artistry
shines through even to this day. The present LP
disc is a transcription of most of the waxes made at
that time plus two others; a Salut demeure made in
1906 and a Jewel Song made in 1913. Neither of
these items is touched with the magic of the others.

The record begins with the finale to Act I O
merveille superbly sung by Caruso and Journet. Then
come the two excerpts noted above that are some'
thing of a disappointment. The Salut demeure has
been better sung on many occasions, notably on rec'
ords by Martinelli in his incredible performance,
circa 1920. Miss Farrar’s Jewel Song is capricious
and arbitrary. Things take a turn for the better with
an ingenious performance of the garden scene quar'
tet Seigneur Dieu, wherein Caruso is joined by
Farrar, Gilibert and Journet — the star of this ex'
cerpt being the magnificent Journet. The duet
Laisse'moi, by Farrar and Caruso, sets an unap'
proachable example of how this impassioned music
should be sung. The great aria that closes the act
II maime is sung by Miss Farrar and is indescribably
beautiful. Journet’s sardonic laughter at the close is
a touch of genius. The duel trio (Caruso, Scotti
and Journet) is stirring; especially fine are Caruso’s
ringing B flats. The final trio as sung by Farrar,
Caruso and Journet is another tremendous affair —
far above the efforts of most present day singers.
One regrets the necessity (if it was necessary) that
precluded the use of the wonderful opening duet
of the prison scene M on^coeur est penetre d’epou'
vante that was recorded at the same time. 4

Hear these Faust selections in all events and
promptly be spoiled for subsequent performances by
other singers. W .

PAGE II

"THE WORLD'S RECORD SHOP"

Indicate* LP 33^ rptn.
0 indicates 45 rpm.

APRIL

The New R ecords 1953

* Critic’s Choice.” Selected by Irving Kolodin. 4-7"

discs in box (0V-WCT-1 1 1 5) $5.14. 1-12" disc
( * V-LCT- 1115) $5.72.

CONTENTS: Scarlatti: Le Violette (Tito
Schipa); Handel: Semele — Where'er You Walk
(Lawrence Tibbett); Handel: Semele— Oh, Sleep!
Why Dost Thou Leave Me (Dorothy Maynor);
Mozart: Le J^ozze di Figaro — Venite, Inginocchia-
tevi (Elisabeth Schumann); Mozart: Le 7s[ozze di
Figaro— Dove sono (Maria Cebotari); Chopin: Im-
promptu in A'flat, Op. 29 (Sigrid Onegin); Wolf:
Kennst du das Land (Kerstin Thorborg); Massenet:
Herodiade Salome! Salome! (John Charles Thomas);
Wagner: Lohengrin — In Fernem Land (Richard
Crooks); Verdi: Falstaff — E sogno? (Leonard War-
ren); R. Strauss: Ariadne — So war es mit Pagliazzo
(Maria Ivogun).

An interesting and, at the same time, an irritat-
ing disc is Critic s Choice, a group of eleven pieces,
all of which, with two exceptions, were issued in this
country during the period 1928-1940. The interest
lies in the making available of some of the treasures
buried in RCA Victor’s vaults. The irritation, and
it is purely personal, is occasioned by the writer’s
thoughts of what might have been selected — although
this is the fate of all anthologies.

It must be stated at the outset that Mr. KolodinV
selections are all good; the singing is of a superior
order in each case. Schipa’s record of Scarlatti’s
Le Violette is breathtaking in its beauty. Surprising,
in view of his other activities, is the only word for
Tibbett’s superb vocalizing in the exquisite Where’er
you wal\. This reviewer never admired Miss May-
nor s Oh sleep! Why etc. The voice is wonderful
but the singing seems wooden. Concerning the
choice of Miss Cebotari's magnificent Dove sono one
can only add a hearty “Amen!” Not enough credit
(none in fact) is given Josef Krips for his sensitive
and inspired direction that contributes so much to
the surpassingly successful performance. The last
item on the first side is Mme. Onegin’s performance
of Chopin’s Impromptu in A Flat. For a critic who
objects to Schubert orchestrated and Handel arias
with piano accompaniment, it seems inconsistent to
include a vocal arrangement of a piano work. Despite
the amazing vocalizing the selection has virtually
no musical merit — it is an empty show piece — there
were far superior Onegin discs, notably the Meyer-
beer excerpts that show this magnificent singer in
her true musical and artistic stature.

Side two opens with Kirsten Thorborg singing a
Wolf song, Kennst du das Land. It is, of course,
sung to perfection. John Charles Thomas always
impressed this reviewer as having one of the finest
voices of all time but so often he lacked imagination
(and at times good taste). He was happiest in the
French repertoire and the excerpt from Herodiade
is one of his better efforts — hardly immortal, how-
ever. The selection of Crook’s In fernem Land seems

arbitrary — ditto Warren’s Falstaff excerpt. The
Strauss Ariadne aria by Maria Ivogun is a dazzling
display of vocal pyrotechnics. Her art and ability
could, one feels, have been expended in a more
profitable direction.

The quality of the disc is very good considering
the age of the originals; the surface noise is very low.

W.

Puccini: Madama Butterfly (abridged). (Sung in
Italian). Toti dal Monte (soprano), Beniamino
Gigli (tenor), Mario Basiola (baritone), Orches-
tra and Chorus of the Royal Opera House (Rome)
conducted by Oliviero de Fabritiis. 9-7" discs in
box (0V-WCT-6OO6) $11.44. 2-12" discs in

album (*V-LCT-6006) $11.44.

One of the really fine operatic performances re-
corded on 78 rpm discs was the dal Monte — Gigli
collaboration on Puccini’s Madama Butterfly. The
original recording dates from 1939/40 and both
artists were at the height of their powers. Miss dal
Monte’s Cio-Cio-San has been extravagantly admired
in some quarters, but this corner has always felt
her delineation was a bit too fragile; however, a re-
hearing on these well engineered LP’s was quite im-
pressive. There is a clarity and a pathos about her
performance that is very persuasive. Gigli, of course,
is Gigli — the liquid, velvety voiced tenor. In this
role he suppresses his occasional tendencies to gulp
and sob with the result that his B. F. Pinkerton is
a superior characterization. The third member, Mario
Basiola does very well as the consul, Sharpless. The
direction by Oliviero de Fabritiis is relaxed at all
times and is a model of good taste and judgement.

Comparisons of this performance and the two
other recorded versions offer a bit of a problem.
Insofar as recorded sound is concerned, obviously
the London recording (TNR Apr. ’52) is tops. In
addition, Renata Tebaldi is a superb Butterfly; but
Campora is definitely no Gigli. There is a further
complication — the Victor set is cut (admittedly) and
is contained on two records, the London takes three,
as does the Columbia set with Steber and Tucker.
In order of preference then, this reviewer would
choose the present version with the London a close
second. It is, in all events, a difficult choice because
of Tebaldi and superb ffrr sound on one hand and
Gigla and dal Monte on the other. Perhaps one
should buy both? W.

Gluck: Iphigenia in Tauris (complete). (Sung in
French). Patricia Neway (soprano), Leopold
Simoneau (tenor), Pierre Mollet (baritone), Rob'
ert Massard (bass) with chorus and Paris Conserva-
tory Orchestra conducted by Carlo Maria Giulini.
2-12" discs in album (*VX-PL-7822) $11.90.

An interesting operatic first recording is issued
this month by Vox. Gluck’s I phi genie en Tauride
will be new to most music lovers and for this fact
alone will command considerable interest. The opera
was the last in the fireworks that attended the

• indicates LP 83^ rpm.
0 indicate* 45 rpm.

H. ROYER SMITH COMPANY

PAGE 12

APRIL

The New Records

1953

famous Piccini'Gluck feud. Both composers were
given the same libretto to set and Gluck finished his
score two years before his rival. In addition, a little
ridicule aided Gluck for when Piccini’s version
finally reached the stage the leading lady was visibly
drunk. This caused one writer to observe that this
was not “Iphigenie en Tauride but Iphigenie en
Champagne." That apparently did it, as the saying
goes, and the feud died of old age.

The cast for this recording is only fair. Miss
Neway is a wooden Iphigenie. Perhaps some of the
lack of color in her performance comes from a lack
of understanding of the style. There are few singers
today who are able to sing this music adequately.
She is vocally competent but so much more is re'
quired for a good performance — and, unfortunately,
a good voice and excellent method are all Miss
Neway is able to bring to her task. The three men,
listed variously as tenor, baritone and bass all sound
like tenors. Of these, Leopold Simoneau is the best.
He delivers the music of Orestes with considerable
dramatic force, rolling his R’s and embodying a
good deal of expression in the part. His aria, Dieux
qui me poursuivez is a fine job, indeed. Pierre
Mollet sings Pylade in a more than adequate manner
but one is hard put to think of M. Mollet as a
baritone. As King Thoas, Robert Massard is color'
less, mechanical and certainly no bass. Maestro Giulini
and the Paris Conservatory Orchestra play well and
imbue the performance with much of its life.

The music throughout the opera is good. It is
typical of the composer and is, in fact, one of his
best scores. This recording should serve to familiar'
ize many with the music, which has a grandeur and
eloquence that are quite unique. The extravagant
language is matched in the music and the whole is
a real musical experience.

Unfortunately Vox had an attack of niggardliness
and have come up with one of the poorest libretti
this reviewer has ever seen. It is a miserable photo'
stat, has very fine print and boasts of such a “free"
translation that a note is included advising that “the
English version is not an exact translation from the
French." There are no notes. W.

Rimsky-Korsakov: May Night (complete). (Sung
in Russian). Irina Maslennikova (soprano), Val'
entina Borisenko (mezzo'soprano), Serge Lemeshev
(tenor), Serge Krasovsky (bass), Chorus and
Orchestra of the Bolshoi Opera conducted by
Vassily Nebolsin. 3' 12" discs in album (*VAN'
VRS'6006/8) $18.50.

A bit of real curiosa has been issued by Vanguard —
the rara avis in this instance being Rimsky'Korsakov’s
melodious opera May T^ight. The first performance
of the work was at the famous Maryinsky Theatre at
St. Petersburg in January 1880. Apparently it failed
to please, for it was soon withdrawn and did not
reappear until fourteen years later, this time in
Prague. It returned to Russia, by way of a per'

formance in 1898 in Moscow, where it now holds
the stage by virtue of its piquant orchestration and
graceful melodies.

The story is not characteristically Russian, being
happy and somewhat humorous. The plot is a slight
one, based on one of Gogol’s Malo'Russian tales,
and need not be repeated here. The cast for the per'
formance contains only one familiar name, that of
Serge Lemeshev. Lemeshev is a veteran tenor who
sings the role of Levko, the hero. His sweetheart
Gonna, is sung by Valentina Borisenko. Both sing'
ers are only average, but neither very good nor very
bad. Lemeshev’s voice is limited in range and his
top notes are forced. Borisenko is a mezzo, rather
light, but not unpleasant. Gulova, the third princi'
pal, is sung by Serge Krasovsky, a basso of limited
capabilities who, nonetheless, makes the most of his
opportunities. Others in the cast are generally ade'
quate with perhaps special mention for Peter Valo'
vov’s fine work as the village lush, Kalnick.

The main interest attaches to the music, and the
interest lies primarily in its novelty. How it will
wear is largely a matter of personal taste, this corner
being of the opinion that one hearing will suffice for
some time.

The performance is a sprightly one, moving along
with spirit and genuine musical feeling. It is light
weight, however, and relatively undistinguished —
indeed, in these respects, it is typical of its com'
poser. Vanguard has done an excellent job in re'
furbishing the original tapes and the recording is free
of the rattles and buzzes that are characteristic of
Soviet techniques. An English libretto is furnished.

W.

CHORAL

Farnaby: Canzonets. Oriana Singers conducted by
Charles M. Hobbs. One side, and Farnaby:
Virginals Music. Blanche Winogron (virginals).
M2" disc (*EMS'5) $5.95.

Monteverdi Selections. Vocal and Instrumental En'
semble directed by Nadia Boulanger. M2" disc
(*D'DL'9627) $5.85.

French Renaissance Vocal Music. Vocal and In'
strumental Ensemble directed by Nadia Boulanger.
M2" disc (*D'DL'9629) $5.85.

One side of this first recording of the music of
Farnaby (1560' 1600) contains works for the vir'
ginals, the simplest and oldest form of stringed
keyboard instrument, and the other contains can'
zonets (in this instance a misnomer for madrigals).
Farnaby, who apparently ranks with Byrd and
Gibbons as a composer, does not find the happiest
expression for his virginals music in Blanche Wino'
gron. Her rather confused, hesitant style shows in'
sufficient mastery of her instrument. Indeed, her
chief contribution to Farnaby’s art might well have
been achieved by playing the sonatas of Bach. The
vocal side of this record is quite professional and

PAGE 13

•THE WORLD'S RECORD SHOP"

indicate* LP 88^ rpm.
0 Indicates 45 rpm

APRIL

The Nw Records

1953

is in the best madrigal tradition. Reproduction is
thin.

Mme. Boulanger gives us a Monteverdi devoid
of almost all authenticity, a Monteverdi who is in
parts more to be compared with Rossini than with
Byrd. All severity and purity of the melodic lines
and balance of parts is absent, for the soloists seem
not to respect the requirements of the madrigal.

The results she achieves with French Renaissance
music are somewhat more successful, providing in
that recording a wholesome mediocrity. We think
the Lady doth molest too much. C.

VOCAL

Martyn Green’s Gilbert and Sullivan. Martyn Green
(baritone) with Columbia Operetta Chorus and
Orchestra conducted by Lehman Engel. IT 2"
disc (*C'ML'4643) $5.45.

CONTENTS: A Modern Major'General (‘‘Pirates
of Penzance"); When I Was a Lad (‘‘H.M.S. Pina'
fore”); I’ve Jibe and ]o\e, I Have a Song to Sing,
Oh! A Private Buffoon (“Yeoman of the Guard”);
The Flowers that Bloom in the Spring, There Is
Beauty in the Bellow of the Blast (with Ella Hah
man), T’ve Got a Little List, Tit'willow (“The
Mikado”); If You Give Me Tour Attention, When'
e'er I Spo\e (“Princess Ida”); Am I Alone (“Pa'
tience”); When I Went to the Bar, The Law is
True, The Nightmare Song (“Iolanthe”); The
Judge's Song (“Trial By Jury”).

For those whose tastes in Gilbert and Sullivan
do not run to complete operettas, here is a delightful
collection of many of the patter songs rendered by
the incomparable Martyn Green. Mr. Green does
not make the common mistake of singing these
numbers at break'neck speed; thus, all the words
are readily understandable. The reproduction on this
LP disc is excellent.

Millocker: Der Bettelstudent. (Sung in German).
Viennese Light Opera Company conducted by

Robert Stolz. M2" disc (*PE'RL'1901) $5.95.
Stolz: Zwei Herzen im Drei Viertel Takt. (Sung
in German). Viennese Light Opera Company
conducted by Robert Stolz. M2" disc (*PE'RL'
1902) $5.95.

O. Straus: A Waltz Dream. (Sung in German).
Viennese Light Opera Company conducted by

Oscar Straus. M2" disc (*PE'RL'1903) $5.95.

O. Straus: The Last Waltz. (Sung in German).
Viennese Light Opera Company conducted by

Oscar Straus. M2" disc (*PE'RL'1904) $5.95.
We are sorry to say that these are but routine
performances of these popular Viennese operettas.
The reproduction is certainly substandard; this is
particularly noticeable in the recording of the or'
chestra and the chorus — the solo voices come through
fairly well. It may be that you are sufficiently inter'

ested in having a nearly complete rendition of these
operettas to overlook the shortcomings of these re'
cordings; however, we suggest that you listen before
you buy.

PIANO

Beethoven: Sonata No. 23 in F minor, Op. 57

(“Appassionata”). One side, and Beethoven:
Sonata No. 2 in A, Op. 2, No. 2. Robert Casa'
desus (piano). M2" disc (*C'ML'4622) $5.45.

Beethoven: Sonata No. 17 in D minor, Op. 31,

No. 2 (“The Tempest”). One side, and Beetho-
ven: Sonata No. 3 in C, Op. 2, No. 3. Wilhelm
Backhaus (piano). M2" disc (*L'LL'627) $5.95.

Beethoven: (33) Variations on a Waltz by Dia-
belli, Op. 120. Mieczyslaw Horszowski (piano).
M2" disc (*VX'PL'7730) $5.95.

Of course, there are a number of other recordings
of the Beethoven Sonatas played by Casadesus and
Backhaus. However, admirers of these two great
pianists will doubtless be glad to learn that their
versions are now available. ... Of particular inter'
est is the first LP recording of Beethoven's famous
Diabelli Variations which the great musicologist, Don'
aid Tovey, has called “the greatest set of variations
ever written.” We are glad to report that Hors'
zowski does a fine job and that Vox has supplied
excellent reproduction.

Maryla Jonas Plays Piano Miniatures. Maryla
Jonas (piano). M2" disc (*C'ML'4624) $5.45.
CONTENTS: Passacaglia in G minor (Handel);
Turkish March (Mozart); Serenade (Schubert);
Music Box (Nicholas); Music Box Lullaby (Thom'
son); Capriccio (W. F. Bach); Song Without Words
No. 4 in G minor, Op. 102 and Song Without
Words No. 1 in C, Op. 62 (Mendelssohn); Con'
solution, Op. 62 (Dussek); Bolero and Gallop
(Cassela).

A group of delightful little keyboard pieces will
be found on this attractive LP disc superbly played
by Maryla Jonas and faithfully recorded by Columbia.

Schubert: (4) Impromptus, Op. 90. One side, and
Schubert: (4) Impromptus, Op. 142. Robert
Goldsand (piano). M2" disc (*CH'CHS'1146)
$5.95.

Schubert: Sonata in A, Op. 120. One side, and
Schubert: Moments Musicaux, Op. 94. Robert
Goldsand (piano). M2" disc (*CH'CHS'l 148)
$5.95.

All of this Schubert keyboard music is already
available, and thus we are simply listing these discs
so that our readers will know that they have been
released.

indieaUf LP 88 ^ rpm.

H. ROYER SMITH COMPANY

PAGE 14

APRIL

T he N ew Records

1953

Ives: Sonata No. 1 (1902-1909). William Masselos
(piano). M2" disc (*C'ML'4490) $5.45.

Those interested in music of our own country
will be delighted to know that there is now avail'
able an excellent recording of Charles Ives’ first
sonata which dates from (1902' 1909). This unique
work by “the most American of our American com'
posers” is played with authority and a fine sense of
feeling by the very accomplished pianist, William
Masselos.

ORGAN

Bach Festival. E. Power Biggs (organ) with Roger
Voisin, Armando Ghitalla, Marcel LaFosse (trum'
pets); Jacob Raichman, Josef Orosz (trombones);
Ernst Panenka (bassoon); Roman Szulc (timpani).
M2" disc (*C'ML'4635) $5.45.

CONTENTS: Cantata No. 79 — Now Thank We
All Our God; W eihnachtS'Oratorium — Good News
from Heaven (3 versions); Cantata No. 140 (“Sleep'
ers, Awake!”) (2 versions); How Brightly Shines
the Morning Star (brass quartet) (2 versions);
Anna Magdalene N otehoo \ — Deal with Me, Father,
As Thou Wiliest. To Thee, Jehova, Do We Sing
(brass quartet); (3) Wedding Chorales (“What
God Hath Done Is Rightly Done”) (“Now There'
fore Bless the Lord of All”) (“Now Thank We
All Our God”); (3) Concerted Chorales (“To
Thee Alone Be Glory”) (“Praise to the Lord, the
Almighty”) (“Praise God from Whom All Blessings
Flow”); (5) Chorales (“Deck Thyself, O Soul, with
Gladness”) (“My Heart Is Ever Yearning”) (“All
Glory, Laud and Honor”) (“What God Doth, That
Alone is Right”) (“Now All the Woods are
Sleeping”) (“A Mighty Fortress Is Our God” —
2 versions) (Bach). Chorale Prelude for Trumpet
and Organ (Krebs). When Adam Fell (Homilius).

The distinguished organist E. Power Biggs with
assisting artists gives us on this fine LP disc some
glorious Bach music with the addition of two selec'
tions by two of Bach’s favorite pupils Ludwig Krebs
(Chorale Prelude for Trumpet and Organ) and
Gottfried August Homilius (When Adam Fell —
trumpet solo with organ). This truly inspiring music
has been most faithfully recorded by Columbia and
thus those interested in music of this character will
find this record one of unique excellence.

French Baroque Organ Music. Clarence Watters,
playing the organ in St. John’s Church, West
Hartford (Conn.). 2' 12" discs in album (*CLAS'
SIC'CE'1008) $11.90.

While the progress of recorded music marches on,
or rather galops on since the LP renaissance, it has
swept with it previously dormant types of recorded
music, notably organ music. The present series
being recorded by Clarence Watters will culminate
in a survey of the French school of organ composition

that would be nearly impossible to hear except on
records. Watters, one of our greatest living per'
formers of French organ music, covers the field from
the early examples right through the contemporary
scene. And these are not trifling samples, but rather
generous helpings which give a complete and satis'
fying view of this great music.

The present album is as carefully chosen as it is
beautifully executed. The composers represented are
Clerambault, Dandrieu, Marchand, DuMage, Fran'
cois Couperin, Siret, Le Begue (five selections),
Jullien, Raison, Loeillet, Balbastre, and D’Aquin.
Watters plays five of the D’Aquin Noels complete:
Nos. 1, 3, 9, 10, and 12, which include the famous
“Sur les Flutes” and “Grand Jeu et Duo.” All of
the selections are chosen from the best examples of
the works of these masters. Watters plays this music
superbly; it would be hard to imagine better rendi'
tions. The organ used is an Austin designed by Rich'
ard Piper and is one of the finest sounding Baroque
jobs yet to reach records. It often sounds like the
famous Silbermanns, and must be one of the finest
of present day Baroque organs. The reproduction
is excellent in range and balance and particularly in
clarity. This set has our highest recommendation, and
we believe many music lovers other than dyed'in'the'
wool organists will find it highly enjoyable. S.

HARPSICHORD

Bach: (6) French Suites. Fernando Valenti (harpsi'
chord). 3' 12" discs in album (*WEST'WAL'
310) $18.50.

This is unquestionably a connoisseur’s item. If
one can enjoy and thoroughly appreciate these suites
for harpsichord he can validly claim to be a Bach
student and indeed a musical intellectual. Those in
that class will find that this music has been superbly
played by the distinguished harpsichordist, Fernando
Valenti, and that it has been recorded with rare
fidelity by Westminster.

We might mention that a very nicely printed
booklet containing the miniature scores of the six
suites is included with this set of records.

MISCELLANEOUS

International Folk Music Festival (“International
Musical Eisteddfod”). Recorded at Llangollen,
North Wales (July 1952) under the auspices of
the International Music Council (UNESCO),
with Jack Bornoff (narrator). 2' 12" discs in
album (*WEST'WAL'209) $11.90.

As we listened to the present recording we be'
came so enthusiastic that vje had the urge to write a
lengthy article about it. However, we realize that
its appeal will be limited, and thus with space at a
premium we must make our remarks as brief as pos'
sible. If we can whet the appetites of those who

• IzKttettw LP 8 rpm.
0 Indlofa 40 rpm.

PAGE 15

“THE WORLD’S RECORD SHOP”

APRIL

T he N^ze; Records

1953

might be interested sufficiently to have them investi'
gate this unique recording we will have accomplished
our purpose.

This recording was made under the auspices of the
International Music Council (UNESCO) at the In'
ternational Musical Eisteddfod held at Llangollen, in
Wales during July 1952. The narrator is Jack
Bornoff, the Executive Secretary of the International
Music Council, and his highly intelligent and ilium'
diating remarks from time to time as the recording
proceeds make one feel that he is actually at the
Eisteddfod with the gay crowds who are so thor'
oughly enjoying the festival. Mr. Bornoff has sup'
plied excellent notes that give a brief history of
these ancient Welsh music festivals with special em'
phasis on their importance in the present work of
the International Music Council in implementing
the Universal Declaration of Human Rights for
men "freely to participate in the cultural life of the
community and to enjoy the arts." Mr. Bornoff
carefully identifies each selection heard on these
records in his notes with an interesting fact or two
about them.

Competing groups of singers and dancers from
over a dozen countries of the world including the
United States came to Llangollen last summer for
this great international folk music and dance fes'
tival. To study Mr. Bornoff’s notes and listen to
these recordings might very well constitute a short
course, a very short one, in the folk music of Europe
and the British Isles — the vast majority of the con'
testants came from that territory.

This review isn’t brief enough but we did wish
our readers to know something of this outstanding
recording in the field of musical folklore. R.

El Pili (Flamenco music). Pedro Jimenez (cantaor)

and Mario Escudero and Alberto Velez (Flamenco

guitars). MO" disc (*ESO'ES'2001) $4.85.

This is one of the finest examples of Flamenco
music available today, both from the standpoints of
performance and of reproduction. The disc derives
its title, "El Pili,” from the professional name of
the singer (or cantaor), Pedro Jiminez, well known
to Flamenco aficionados as a member of "Los Cha'
valillos Sevillanos," now on world tour. Alberto
Velez is also a member of this troupe. Mario Es'
cudero, who has been called the "virtuoso of the
Flamenco guitar," has just concluded a season with
the well'known Carmen Amaya in Paris and is now
on tour with her.

The impeccable guitar playing on this disc must
be heard to be believed! "El Pili’s" incantations fairly
breathe the Flamencan spirit. As mentioned above,
the reproduction is superb. Flamencan collectors and
students of the classical guitar should not miss this
disc.

BOOKS OF MUSICAL INTEREST

The World’s Encyclopaedia of Recorded
Music. By Francis F. Clough and G. J.
Cuming. 890 pp. Sidgwick and Jackson,
Ltd. (London). Price $17.50.

The Hew Catalogue of Historical Records
1 898*1 908/09. Compiled by Robert Bauer.
494 pp. Published in England. For sale in
U. S. A. by H. Royer Smith Co. (PhiladeL
phia). Price $7.25.

The Gramophone Shop Encyclopedia of Re *
corded Music (Third Edition) . Robert H.
Reid, Supervising Editor, 639 pp. Crown
Publishers (New York). Price $2.95.

The Victor Boo\ of Operas. Revised and edited
by Louis Biancolli and Robert Bagar.
xxiv+596 pp. Illustrated. Simon and
Schuster (New York). Price $3.95.

Victor Boo\ of Concertos. By Abraham Veinui.
xxv + 450 pp. Simon and Schuster (New
York). Price $3.95*

Collectors’ Guide to American Recordings
1895*1925. By Julian Morton Moees.
Foreword by Giuseppe l>e Luca. 200 pp.
Published by the author. Price $3.75.

I Hear You Calling Me. By Lily McCormack.
201 pp. Illustrated. The Bruce Publishing
Co. (Milwaukee). Price $2.75.

Records: 1950 Edition. By David (Hall, ix *-f-
524 + xx pps. Alfred A. Knopf (New
York). Price $6.

NOTE: All the above books have been reviewed
in previous issues of The Hew Records. If your local
dealer does not stock them, orders addressed to H.
Royer Smith Co., Philadelphia 7, Pa., will be promptly
filled. The prices quoted include postage to any point
within U.S.A.

The first tetters In the record number Indicate the manufacturer: BG — Bach Guild, BL — Bibletone C Columbia CE Cetr* PH rnnr*rt

?OL K !! C E l t e h^, C E L nTL r CaPlt0, l 1K CSM -Co'osseum, CRS — Collector’s Record Shop D-DeecT ^

phnrri K L l brary .’ G JP A'T'Gregorlan Institute of America, HS — Hadyn Society, L — London Gramophone, LYR— Lyrl-

chord, ME Mercury, OC— Oceanic, OL— L Olseau Lyre, PE— Period, PH M— Phllharmonla PLM— Polvmuslc rfn Rmnittnnm oat
Sounds of Our Tim... STR Stradivari, UR-Umnli V-Vl.t.r, VAN-V.nau^d VX-^ 80T

• Indicates LP 88J^ rpm.
Indicates 45 rpm.'

H. ROYER SMITH COMPANY

PAGE 16

The N« Records

4d^tr-

A BULLETIN FOR THOSE INTERESTED IN RECORDED MUSIC

Issued Monthly by

H. ROYER SMITH COMPANY

“The World’s Record Shop ”

I OTH & WALNUT STREETS .... PHILADELPHIA 7, PA., U. S. A.

VOL 21, NO. 3

B IRD lovers attention! Here is a perfectly
fascinating LP record recently released by
the Cornell University Press. It is called Music
and Bird Songs: Sounds from nature with
commentary and analysis. It is a KMnch LP
disc, and the price is $5.

This recording was prepared by James H.
Fassett, Supervisor of Music for CBS, and Pro'
fessor P. P. Kellogg, Associate Professor of
Ornithology at Cornell University. These gen'
tlemen selected a number of recordings of birds,
frogs and toads from the huge collection of
such recordings in the Laboratory of Ornith'
ology at Cornell University; and Mr. Fassett
prepared a most interesting and illuminating
commentary. In the course of his commentary
Mr. Fassett introduces the various bird and
animal recordings and, after playing them just
as they were heard in the woods and fields, he
analyzes them by reducing the speed to one'
half and one'quarter; thus each of the many
notes that make up the calls and songs may be
identified. To us this was one of the most
fascinating features of this unique record.

As this record will have a quite limited
appeal, not many record shops will stock it.
If your local dealer cannot supply it, orders
sent direct to the publishers of The New
Records will be promptly filled. Just request
Music and Bird Songs (Cornell University
Press) — Price $5.

* * *

Occasionally, every few years — every dec'
ade, perhaps — there occurs a recording so
excellent that it is immediately recognized
as a rare and priceless masterpiece. Arturo
Toscanini has just given us a recording of the
nine Beethoven Symphonies; since these sym'
phonies are considered to be the greatest se'
quence of orchestral compositions, and since
Maestro Toscanini is thought by many to be
one of the outstanding interpreters of Beetho'

$1 per year

ven, we feel that here is just such a master'
piece, in limited edition.

RCA Victor has spared no effort to present
an attractive edition. The album contains 7' 12"
discs and has padded covers of simulated
leather; imbedded in the front cover (but re'
movable) is a bronze facsimile of a medal
presented to Toscanini in 1916 by the members
of the Orchestra of Turin, depicting the Maes'
tro’s profile on one side, and containing a
facsimile of his signature on the reverse. Twen'
ty'two pages are bound into the album; on these
pages, in addition to interesting photographs
of various incidents in Toscanini’s life, may be
found: a biography of the conductor; a cri'
tique entitled “Beethoven and Toscanini” by
Samuel Chotzinoff; a brief history of the NBC
Symphony; dates of the present recordings;
and program notes on each of the symphonies.

Three of the symphonies (the First, Third
and Ninth) contained in this edition are ah
ready available in the Victor catalog; this fact
in no way detracts, however, from the desir'
ability of this limited (4,000 copies) edition;
the owner of a numbered set of these record'
ings will have an item to enjoy and to be
proud of for as long as he is interested in
record collecting.

Those interested should place their orders
with their dealers promptly. RCA Victor Set
*V'LM'6900; price $52.40.

* * * *

We have received the announcement from
RCA Victor that it has combined its “Music
America Loves Best” catalog and its “Request”
catalog into one general catalog to be called
the RCA Victor Catalog. It contains listings
of all RCA Victor records presently available.

Also just published by RCA Victor is its
Educational Catalog, the first such catalog to
be issued in many years. It contains listings
of basic graded libraries for elementary schools.

MAY, 1953

MAY

Tj he Records

1953

records for children of preschool ages, records
aimed at interesting children in classical music,
folk dances, international music, and so on.

Available, too, is the 1952/3 "His Master’s
Voice” (English — 78 rpm only) catalog, which
will be of interest to collectors of imported
records.

Any of these catalogs may be ordered from
the publishers of this bulletin. The RCA Vic-
tor General Catalog (488 pp.) is 50c; the
Educational Catalog (90 pp.) is 20c; and the
HMV catalog (523 pp.) is 50c. These prices
include postage to any point in U. S. A.

BACK COPIES

We are continually receiving requests for
back copies of The New Records. Most of
the issues published during the last twenty
years are available. The price is 10c each. A
file of all of the available issues (at least 140
copies) is $5. These prices are postpaid within
U.S.A.

NOTE: Those persons interested in recent
recordings only may secure all of the issues of
the last three years beginning May 1950 (36
copies) at the special price of $2 (postpaid
within U. S. A.).

NEW LP RELEASES

Mascagni: Cavalleria Rusticana (complete). Solo'
ists, Chorus and Orchestra of CETRA conducted
by Arturo Basile. Three sides, and Leoncavallo:
I Pagliacci (complete). Soloists, EIAR Chorus and
Orchestra conducted by Alfredo Simonetto. 3' 12"
discs in album (*CE'LP'1233) $17.85. (TNR
Aug. '52 & Dec. ’51).

Dvorak: Slavonic Dances, Op. 72 (complete). Czech
Philharmonic Orchestra conducted by Vaclav
Talich. M2" disc (*UR'URLP'7079) $5.95.
(TNR Apr. ’53).

OVERTURES ON RECORDS

Our studio has been flooded with releases of over'
tures, waltzes and the like recently released by sev'
eral manufacturers. Due to severe space limitations
we cannot consider each issue separately; but be'
cause we feel that many of our readers would like
to know of the release of these extremely popular
items, we are listing them below.

Strauss: Roses from the South, Op. 388. RIAS

Symphony Orchestra conducted by Ferenc Fricsay.
One side, and Strauss: Wine, Women and Song,
Op. 333. Wurttemberg State Orchestra conducted
by Ferdinand Leitner. M0" disc (*D-DL'4042)
$2.50.

Verdi: Sicilian Vespers — Overture. RIAS Sym'
phony Orchestra conducted by Ferenc Fricsay.
One side, and Boieldieu: Caliph of Bagdad —
Overture. And Adam: Si J’Etais Roi — Overture.
Bamberg Symphony Orchestra conducted by Fritz
Lehmann. M0" disc (*D'DL'4046) $2.50.

Brahms: Academic Festival Overture, Op. 80. Ber'
lin Philharmonic Orchestra conducted by Paul van
Kempen. One side, and Brahms: Tragic Over-
ture, Op. 81. Berlin Philharmonic Orchestra con'
ducted by Fritz Lehmann. M0" disc (*D-DL'
4048) $2.50.

Beethoven: Fidelio — Overture. Bamberg Symphony
Orchestra conducted by Ferdinand Leitner. One
side, and Beethoven: Ruins of Athens — Overture.
And Beethoven: Prometheus Overture, Op. 43.
Munich Philharmonic Orchestra conducted by
Fritz Reiger. M0" disc (*D'DL'4047) $2.50.

Dvorak: Carnaval Overture, Op. 92. One side, and
Berlioz: Beatrice and Benedict — Overture. N. Y.
Stadium Concerts Symphony Orchestra conducted
by Alexander Smallens. M0" disc (*D-DL-4034)
$2.50.

Wagner: Die Walkiire — Ride of the Valkyries.
Wurttemberg State Orchestra conducted by Fer-
dinand Leitner. One side, and Wagner: Lohengrin
— Prelude to Act I. And Wagner: Lohengrin —
Prelude to Act III. Berlin Philharmonic Orches'
tra conducted by Eugen Jochum. M0" disc
(*D-DL'4030) $2.50.

Wagner: Die Meistersinger — Prelude. One side,
and Wagner: Die Meistersinger — Dance of the
Apprentices. And Wagner: Die Meistersinger —
Entrance of the Meistersinger. Wurttemberg
State Orchestra conducted by Ferdinand Leitner.
M0" disc (*D'DL'4037) $2.50.

Wagner: Tristan und Isolde — Prelude and Love
Death. Wiittemberg State Orchestra conducted
by Ferdinand Leitner. M0" disc (*D-DL'4038)
$2.50.

Mozart: Cosi Fan Tutte — Overture. And Mozart:
Don Giovanni — Overture. One side, and Mozart:
Magic Flute — Overture. And Mozart: La
Clemenza di Tito — Overture. Berlin Philhar'
monic Orchestra conducted by Fritz Lehmann.
M0" disc (*D'DL'4035) $2.50.

Mozart: II Seraglio — Overture. And Mozart: Le
Nozze di Figaro — Overture. One side, and
Mozart: Idomeneo — Overture. And Mozart: Der
Schauspieldirektor — Overture. Berlin Philhar'
monic Orchestra conducted by Fritz Lehmann.
M0" disc (*D'DL'4036) $2.50.

Bizet: Carmen — Suite No. 1. One side, and Bizet:
Carmen — Suite No. 2. N. Y. Stadium Concerts
Symphony Orchestra conducted by Salvatore dell’
Isola. M0" disc (*D-DL'4029) $2.50.

• Indies tea LP 88 rpm.
g indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 2

may The New Records 1953

R. Strauss: Salome — Dance of the Seven Veils. One
side, and R. Strauss: Der Rosenkavalier — Waltz.
N. Y. Stadium Concerts Symphony Orchestra con*
ducted by Alexander Smallens. DIO" disc (*D-
DL-4032) $2.50.

(7) Operatic Intermezzi. Philharmonia Orchestra
conducted by Wilhelm Schuechter. DIO" disc
(♦MGM-E-131) $3.

CONTENTS: Cavalleria Rusticana; Pagliacci;
Carmen, Act 2; Carmen, Act 4; I Quattro Rusteghi;
L'Amico Fritz; Jewels of the Madonna, Act 3.

Wagner: Die Feen — Overture. And Wagner: Das
Liebesverbot — Overture. One side, and Wagner:
Rienzi — Overture. And Wagner: Der fliegende
Hollander — Overture. D12" disc (*UR-URLP-
7069) $5.95.

Mozart: Les Petits Riens — Ballet Music. One side,
and Mozart: (6) Overtures. Stuttgart Tonstudio
Orchestra. D12" disc (*PE-SPL-559) $5.95.
CONTENTS: Cosi Fan Tutte; Clemenza di Tito;
Finta Giardiniera; II Re Pastore ; Der S chaus pieldire\'
tor; Bastien et Bastienne.

ORCHESTRA UJ

Mendelssohn: Symphony No. 3 in A minor, Op. 56

(“Scotch'’). Pittsburgh Symphony Orchestra con-
ducted by William Steinberg. D12" disc (*CL-
S-8192) $5.72.

Mendelssohn: Symphony No. 3 in A minor, Op. 56

(“Scotch”). London Symphony Orchestra con-
ducted by Georg Solti. 1-12" disc (*L-LL-708)
$5.95.

The steady popularity of the Italian Symphony
has placed the Scotch in a poor second place among
Mendelssohn symphonies. While the popularity of
the Italian is understandable, every hearing of the
Scotch causes us to wonder why this symphony is
not a great deal more popular. It is in many ways a
better work, as well it might be, since it was com-
posed long after the Italian; the business of number-
ing symphonies is once again misleading in this
matter. The Scotch symphony was undoubtedly in-
spired by a visit to Scotland, but it was not com-
posed immediately in the heat of inspiration; rather
it was completed thirteen years later. Thus we have
a work which is the product of a fully matured
musician, with an inspiration that had gained good
perspective and had a chance to be fused with other
musical experience. The result is a work which
stands at the top of Mendelssohn's symphonies as
a fine work, not just a descriptive nor programmatic
work. Mendelssohn disclaimed any program for the
work, although there is admittedly a musical connec-
tion with the Palace of Holyrood House in Edin-
burgh, particularly its chapel. Here is symphonic
writing by Mendelssohn at his very best.

The two recordings here under consideration are
both excellent. Steinberg has a more vital and ener-

getic approach, in good control, not flamboyant, but
genuinely enthusiastic. It is not only a reading of
great vitality, but also an orchestral performance of
the same calibre, for the orchestra responds superbly.
In this respect Steinberg and Klemperer are about
on a par and head the list of recorded versions
(Klemperer *VX-PL-7080). In the matter of re-
production, London and Capitol are quite different.
Capitol's disc has a big, luscious, blooming tone,
with good string quality, but will be marred for many
by excessive reverberation; it did not annoy us, but
we admit it is there. London’s recording is a closer
job with more clarity, although it has a rather thin
and nasal string tone. You will do well to find out
which sounds better on your set and to your ears,
for each is quite different in its characteristics. S.
Sibelius: Symphony No. 3 in C, Op. 52. One side,

and Sibelius: Symphony No. 7 in C, Op. 105.

Stockholm Radio Symphony Orchestra conducted

by Sixten Ehrling. 1-12" disc (*ME-MG-10125)

$4.85.

Mercury plans to offer all seven symphonies of
Sibelius by the same orchestra and conductor. So
far, the First, Third and Seventh have been issued,
and if they hurry up, they will have the first LP’s
on the market of the Fourth and Sixth. If the whole
series is of an excellence comparable to this disc it
will be a worthy project. The Stockholm Radio
Symphony Orchestra has long been regarded as one
of the three finest in Scandinavia. Sixten Ehrling is
Sweden's most brilliant young conductor of the post
World War Two era, and is thoroughly schooled
by circumstance and environment and by intense
study in the most authentic and vital traditions with
respect to the proper performance and interpretation
of the Sibelius symphonies.

It is fortunate that we have such an able inter-
preter for the Third Symphony which appears for
the first time on LP. The Third begins a new type
of symphonic writing for Sibelius, who forsook the
romantic utterances of the first two symphonies and
also the orchestration and devices of European and
Slavic musical romanticism. After Sibelius and his
family moved to Jarvenpaa, in the country away
from the distractions of city life in Helsinki, he
began a lifelong communion with nature — the
Finnish lakes and forests, the sounds of wind and
of water. Music which was more clearly defined and
more truly Sibelius, as we now know him, was the
result. The Third Symphony is clearly a departure
from the ones which preceded it. The Seventh Sym-
phony , his last, is a good pairing. It is the achieve-
ment of a true synthesis of classic and romantic-
nationalist tradition, maintaining an uncompromising
integrity of musical personality.

We found Ehrling’s performances magnificent and
the reproduction of them among today’s best. He has
a directness of approach befitting the music, yet
there is abundant power and feeling. The orchestra
responds with some glorious playing and proves to

PAGE 3

"THE WORLD'S RECORD SHOP"

• Indicates LP S8^ rom.
0 Indicates 46 rpm.

MAY

1953

I he N ew R ecords

be a first class group of fine polish and lovely tone.

A splendid disc in every respect, which we highly
recommend. S.

Haydn: Symphony No. 70 in D and Mozart:
Overture in B-flat, K. 311a ( ‘‘Paris'’ ). One side,
and Haydn: Symphony No. 54 in G. Chamber
Orchestra of the Vienna State Academy of Music
conducted by Hans Swarowsky. 1-1 2" disc
(*LYR'LL'32) $5.95.

Haydn: Symphony No. 12 in E and Haydn: Sym-
phony No. 23 in G. One side, Haydn: Sym-
phony No. 30 in C (“Alleluja") and Haydn:
Symphony No. 29 in E. Chamber Orchestra of
the Vienna State Academy of Music conducted by
Wilhelm Leibner. PI 2" disc (*LYR'LL'36)

$5.95.

Haydn: Symphony No. 93 in D. One side, and
Haydn: Symphony No. 88 in G. Vienna Sym'
phony Orchestra conducted by Hermann Scher'
chen. M2" disc (*WEST'WL'5178) $5.95.
Avoiding the unfortunate fallacy that Haydn and
Mozart were precursors of Beethoven rather than
composers whose art was as independent and fully
developed as the latter’s music was, the Vienna
Chamber Orchestra under Hans Swarowsky offers a
recording which is among the few to give evidence
to the fact that the music of the two Giants bears
greater resemblance to that of the Baroque period
which preceded them than to that of the late classi'
cal period which followed. Swarowsky, avoiding the
pale, overly delicate type of performance, executes
a vital colorful reading which could well serve as
a model for those who make the Haydn'Mozart
School sound like a dull conglomeration of nervous
superficialities. Like Ralph Kirkpatrick who has
striven (and succeeded) to give us a “life size
Mozart’’ (*Bartok BRS'912), Swarowsky is one of
the few artists who can see the classicists from the
other side of 1750.

Wilhelm Leibner’s recording of four previously
unrecorded Haydn Symphonies gives them a some'
what too sensational entrance into the phonographic
repertoire. His rushed, violently energetic perform'
ance does not compensate for the smallness of the
music, which we assume was its intention.

Continuing in his project to improve the Haydn
Symphonies, Dr. Scherchen wields his musical ax
to carve for recorded eternity the image of Brunn'
hilde riding over the Esterhazy Estate. C.

Tchaikovsky: Symphony No. 5 in E minor, Op. 64.

Hamburg Radio Symphony Orchestra conducted
by Hans Schmidt'Isserstedt. M2" disc (*L'LL'
691) $5.95.

It has been a long time since any performance of
the old Tchaikovsky Fifth has given us as much
pleasure as this one. It has a large, romantic spa'
ciousness about it very rare in today’s performances.

It is admittedly played with generally slower tempos
than nearly any other LP version. One disadvan'
tage of this disc is that the second movement is
broken — half on side one, half on side two. The
quality of recorded tone is rich and thick and quite
in keeping with the style of performance. It is not
as sharp as many current LP’s, and has a resound'
ingly full bass which is exceptionally clear for its
weight. The conductor takes a traditional cut in the
last movement which we would prefer he had not
done; it seems unnecessary to do this in an LP
recording. The over'all impression left by this read'
ing, however, remains satisfying, and it is the style
we enjoy in a Tchaikovsky symphony.

Hans Schmidt'Isserstedt is permanent director of
the Hamburg Radio Symphony Orchestra, a respon'
sible position in present'day Germany. This orches'
tra is a thoroughly excellent one, as you can hear
in the present recording. The conductor made many
records for Telefunken before and during the last
war when he was one of the most promising of the
younger conductors.

With nearly a dozen to choose from, recordings
of this popular symphony present a problem to those
who do not yet own one. The best all around job
which will appeal to most folks is Ormandy and the
Philadelphia (*C'ML'4400), and others well worth
investigation are Cantelli (*V'LHMVT003) and
Dorati ( *ME'MG' 5 0008 ) . S.

Rimsky-Korsakov: Symphony No. 3 in C, Op. 32.
National Radio Orchestra conducted by Gauk.
One side, and Gliere: Concerto for Harp and
Orchestra. Dulova (harp) with the National
Radio Orchestra conducted by Gauk. IT 2" disc
(*PE'SPL'567) $5.95.

Kalinnikov: Symphony No. 2 in A. National Radio
Orchestra conducted by Rachlin. IT 2" disc (*PE'
SPL'566) $5.95.

The three selections on these two records appear
for the first time on LP discs. They are indeed very
welcome, and we are glad to report that the foreign
tapes have been transferred to these LP discs with
great success. Anyone interested in this music may
select either of these records with the assurance that
the reproduction is of high quality and the record
surfaces smooth and quiet.

The Rimsky symphony is an early work, written
before the composer had developed into the master
of orchestration that he later became. It is not of
great importance, but it is interesting as an early
milestone in the development of this great musician.

. The Gliere Concerto for Harp and Orchestra,
which dates from 1938, is not profound from a
pure y musical viewpoint but a highly lovely selec'
tion (o listen to; and as harp concertos are rarities,
it is a very welcome addition to the repertory of
recorded music. We are very sure that it will give
many music lovers a great deal of pleasure. . . . The
Russian composer, Basil Sergeivitch Kalinnikov

• laflwUi LP n>m.
0 Indicate* 45 rpm.

H. ROYER SMITH COMPANY

PAGE 4

MAY

T he New 'Records

1953

(1866' 1901) is little known in this ^ountry, except
perhaps for his first symphony which was recorded
a number of years ago by the Indianapolis Symphony
under Sevitzky. The present symphony, like his
first, abounds in lovely melodies in the Russian idiom
and has warmth and a sense of welbbeing that belies
the idea that all things Russian are morbid and
somber. One only has to hear this music to appre*
ciate and enjoy it; its charms are certainly not hid'
den. Perhaps it will pall after repeated hearings; we
can’t say because it was new to us. We can say,
however, that we thoroughly enjoyed the two hear'
ings that we gave it and that we are looking forward
to listening to it again at the first opportunity. R.

Wagner: Der Ring des Nibelungen (Orchestral
Highlights, Vol. I). Munich State Opera Orches'
tra conducted by Frans Konwitschny. M2" disc
(*UR'URLP'7063) $5.95.

CONTENTS: Rheingold — Entrance of the Gods
into Valhalla; Wal\ure — Ride of the Valkyries &
Magic Fire Music; Siegfried Idyll.

Wagner: Der Ring des Nibelungen (Orchestral
Highlights, Vol. II). Munich State Opera Or'
chestra conducted by Frans Konwitschny. M2"
disc ( *UR'URLP'7065) $5.95.

CONTENTS: Siegfried — Interlude (Act III);
Gotterdammerung — Siegfried’s Rhine Journey &
Siegfried’s Funeral Music Finale; Parsifal — Prelude
& Good Friday Spell.

Wagner: Der Ring des Nibelungen (Orchestral
Highlights, Vols. I & II). Munich State Opera
Orchestra conducted by Frans Konwitschny. 2' 12"
discs in album (*UR'URLP'603) $11.90.

Wagner: Gotterdammerung — Siegfried’s Rhine
Journey. And Wagner: Gotterdammerung —
Siegfried’ Funeral Music. One side, and Wagner:
Tristan und Isolde — Prelude and Liebestod. Pitts'
burgh Symphony Orchestra conducted by William
Steinberg. M2" disc (*CL'S'8185) $5.72.

Wagner: Lohengrin — Prelude (Act I). And Wag-
ner: Lohengrin — Introduction (Act III). One
side, and Wagner: Tannhauser — Overture. And
Wagner: Tannhauser — Prelude (Act III). Mun'
ich State Opera Orchestra conducted by Robert
Heger. M2" disc (*UR'URLP'7077) $5.95.
This month we have a rare feast for those music
lovers who enjoy fine orchestral Wagnerian record'
ings. We are happy to report that the performances
are all of high excellence and that the reproduction
throughout is very satisfactory. You will note that
the first two Urania records are available singly or
may be had together in one album.

Nielsen: Symphony No. 6 (“Sinfonia Semplice”).
Danish National Orchestra of the State Radio
conducted by Thomas Jensen. M2" disc (*ME'
MG'10137) $4.85.

“Music of the North Vol. 8’’ in Mercury’s series

brings us another symphony by Carl Nielsen, the
fourth to be recorded (already on LP are Nos. 1,
3, and 4). Nielsen began work on his sixth, and
last, symphony late in 1924, completing the score
on 5 December 1925. During this period his life
was harassed by ill health and depression and also
by the seeming failure of his own work to take hold
beyond the borders of his native land. Although he
was born in the same year as Sibelius, Nielsen's six
symphonies were scarcely known outside of Denmark
at the time of his death in 1931, while the seven
works in that form by the Finnish master had be'
come part and parcel of the regular concert reper'
toire, particularly in England and the United States.
Since 1950, Nielsen has had many brilliant perform'
ances at various Festivals, is being recorded, and
appears on orchestra programs more widely.

The Sixth Symphony opens deceptively in a simple
and easygoing vein, and the first movement is good
solid symphonic music. The second movement is
called Humoreske, and is a sarcastic little piece
scored for woodwinds, trombone, snare drum, tri'
angle, and glockenspiel — a bitter commentary on
the musical modernism of the 1920’s. To us this
movement is completely out of place in the scheme
of the symphony. It would be a mighty clever little
selection of its own — or even as part of a suite of
some sort — but it sticks out like a sore thumb in
this otherwise agreeable work. The third movement
is slow, serious, poignant, and a thoughtful, rather
sorrowful elegy. The final movement consists of a
brief introduction, followed by a theme, nine varia'
tions and coda.

The composer’s brilliant pupil and protege, Thomas
Jensen, directs a fine performance of this work,
clear, concise, and expressive. The Danish orchestra
plays admirably and the reproduction is exceptionally
good. S.

Tchaikovsky: Romeo and Juliet (OuvertureTan'
tasia). One side, and Liszt: Les Preludes. Con'
certgebouw Orchestra of Amsterdam conducted by
Willem Mengelberg. M2" disc (*C'RL'3039)
$3.08.

Glazounov: Raymonda Ballet Suite, Op. 57. One
side, and Gliere: The Red Poppy Ballet Suite

No. 2. Orchestra of the National Theatre con'
ducted by Yuri Fayer. M2" disc (*VAN'VRS'
432) $5.95.

Rimsky-Korsakov: Skazka, Op. 29. One side, and
Rimsky-Korsakov: The Snow Maiden — Suite.
Philharmonia Orchestra conducted by Anatole
Fistoulari. M2" disc (*MGM'E'3017) $4.85.
Shostakovich: Ballet Suite No. 1 (1950). State
Orchestra of USSR conducted by Alexander Gauk.
One side, and Prokofiev: Romeo and Juliet Suite
No. 2, Op. 64. Leningrad. Philharmonic Orches'
tra conducted by Eugene Mravinsky. M2" disc
( *VAN'VRS'6004) $5.95.

Except for Mengelberg’s famous recording of

PAGE 5

"THE WORLD'S RECORD SHOP"

indicates LP 88 V\ rpru
0 Indicates 45 rpra.

MAY

T he Nm R ecords

1953

Liszt's Les Preludes, all of these selections are by
welhknown Russian composers. The two Vanguard
discs contain recordings that were taken from tapes
that were made in Russia and we are glad to report
that our friends behind the Iron Curtain are gradu*
ally improving their recording technique so that
recent efforts in that field are quite satisfactory.

Beethoven: Coriolan Overture, Op. 62 and Beetho-
ven: Prometheus Overture, Op. 43. One side,
and Beethoven: Leonore Overture No. 2, Op. 72
and Beethoven: Egmont Overture, Op. 84.

Vienna State Philharmonia conducted by Jascha
Horenstein. IT 2" disc (*VX'PL'8020) $5.95.

Beethoven: Fidelio — Overture. And Beethoven:
Consecration of the House Overture, Op. 124.
One side, and Beethoven: Egmont Overture, Op.
84 and Beethoven: Leonore Overture No. 2,
Op. 72a. London Symphony Orchestra conducted
by Felix Weingartner. IT 2" disc (*C'ML'4647)
$5.45.

Beethoven: Leonore Overture No. 1 . And Beetho-
ven: Leonore Overture No. 2. One side, and
Beethoven: Leonore Overture No. 3. And
Beethoven: Fidelio — Overture. Vienna State
Opera Orchestra conducted by Hermann Scher'
chen. IT 2" disc (*WEST'WLT177) $5.95.
Each, in its way, of these three recordings has
substantial merit. Horenstein proffers a well'tem'
pered, meticulous Beethoven which gains in linear
clarity and formal firmness what it sacrifices in
vitality. His performance is tastefully theatrical in
an unusual merger of German Romanticism and
Classical form.

Weingartner’s merits (this is one of the master's
most successful executions) are obscured by the
antiquated sound of his recording which is recom'
mended only to those whose interest in the late
conductor overshadows their interest in aural quality.

Scherchen’s disc logically combines all of the four
overtures to Beethoven's Opera, a coupling that is
a further indication of the musical intelligence func'
tioning at Westminster. There has never been, to
our hearing, a reading of the Fidelio and Leonore
Overtures as expansive and justifying to their pro'
portions as this one. When one adds to that the
superb fidelity of Westminster's new recording
technique (this is one of the highest fidelity records
ever produced), one has a disc that few persons
should want to miss. C.

Stravinsky: L’Histoire du Sold at. Michele Auclair
(Soldier), Marcel Herrand (Devil), Jean Marchat
(Reader) with instrumental ensemble directed by
Fernand Oubradous. M2" disc (*VX'PL'7960)
$5.95.

This work without formal precedent, designed to
be played, recited (in French), and danced simuh
taneously, is clearly one of the finest pieces produced
during this century by any composer. And never

before, not even under his own leadership, has Stra*
vinsky’s masterpiece received such an understanding
and definitive performance. What in previous record'
ings had appeared to be dissonances in the music
were apparently (after hearing this version) the
product of inept and unsympathetic playing. Fur'
thermore the presence of the narrative (included
here for the first time) works reciprocally with the
music to enhance and more greatly significate both
of them.

Alfven: Midsommarvaka (“Midsummer Vigil”).
One side, and Grieg: Peer Gynt Suite No. 1,

Op. 46 — Anitra’s Dance; In the Hall of the
Mountain King. Philadelphia Orchestra conducted
by Eugene Ormandy. 1T0" disc (*C'AAL'35)
$2.85.

Occasionaly we hear persons engaged in some
phase of the record industry decry the inroads that
television has made in the sale of phonograph records.
But here is a case where television actually helped
the record business. TV fans familiar with the “Om'
nibus” show (Alistair Cooke et al) will no doubt
recall the short film “The Stranger Left No Card,”
which has been run twice on that show; and in case
you were not one of the many hundreds who wrote
in to “Omnibus” to inquire about the name of the
haunting and tuneful theme of that film, we are
happy to advise you that it was none other than the
M idsommarva\a, more popularly known as “Swedish
Rhapsody,” here given a fine performance by Or'
mandy and the Philadelphians.

As it is coupled with the ever'popular Anitras
Dance and In the Hall of the Mountain King,
this disc should enjoy a very nice sale.

Brahms: Symphony No. 2 in D, Op. 73. NBC

Symphony Orchestra conducted by Arturo Tos'
canini. 4'7" discs in box (0V-WDMT731) $5.14.
M2" disc (*V'LMT731) $5.72.

Continuing in his project of recording the Brahms
Symphonies, Toscanini gives us what is probably the
best version of the Master’s second effort in that
form. The fine balance of lyric and dramatic quali'
ties, the incisiveness of phrasing and over'all clarity
of details, and above all the apparently close adher'
ence to the score provide a wholly excellent per'
formance, aided, not inconsiderably, by Victor’s
fine new recording technique.

Wagner — arr. Stokowski. Parsifal — Symphonic Syn'
thesis. One side, and Schubert: Rosamunde (ex'
cerpts). Leopold Stokowski and his Symphony
Orchestra. 4' 7" discs in box (0V'WDMT73O)
$5.14. M2" disc (*V'LMT730) $5.72.
Stokowski is the supreme master at taking the
music such as that of Parsifal and developing it into
a “Symphonic Synthesis.” He has done so in the
present instance and under his inspired direction
it becomes a recording with an almost universal
appeal. Coupling it with excerpts from Schubert's

* Indicates LP 88 rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

RASE 6

MAY

T he Nm Records

1953

Rosamunde does not in any way lessen its attractive'
ness. Thus we have an LP disc that should reach
the best sellers list immediately and probably stay
there for a long time to come.

The jacket and label states that there is also con'
tained on this LP record a recording of the Prelude
to Act 1 of Parsifal. This is an error that will be
corrected on future jackets and labels.

Puccini — trans. Kostelanetz : La Boheme (Orches'
tral Synthesis). Andre Kosetlanetz and his Orches'
tra. M2" disc (*C'ML'4655) $5.45.

Borodin: Prince Igor (Orchestral Suite: Overture,
Polovski March, Polovtsian Dances). Philharmonia
Orchestra conducted by Walter Susskind. M2"
disc (*MGM'E'3008) $4.85.

Bizet: Carmen (Orchestral Scenes: Prelude & Em
tr’acte, Final, Danse Boheme). Columbia Sym'
phony Orchestra conducted by Sir Thomas Beech'
am. One side, and Rossini: Semiramide — Over'
ture. Philadelphia Orchestra conducted by Sir
Thomas Beecham. MO" disc (*CAAL'27) $2.85.
For those who like operatic music arranged for
orchestra the three LP discs listed above contain a
wealth of such music. It has all been nicely performed
and most faithfully recorded. The little Sir Thomas
Beecham disc at its modest price is a marvelous value.

Hanson: Symphony No. 2, Op. 30 (“Romantic”).
Eastman ' Rochester Symphony Orchestra con'
ducted by Howard Hanson. One side, and Mac-
Dowell : Concerto No. 2 in D minor, Op. 23.
Jesus Maria Sanroma (piano) with the Eastman'
Rochester Symphony Orchestra conducted by
Howard Hanson. M2" disc (*C'ML'4638) $5.45.

NOTE: For review of this disc, see under CON'
CERTO.

tdfc

CONCERTO

Prokofiev: Concerto No. 1 in D, Op. 19. Ricardo
Odnoposoff (violin) with the Radio Zurich Or'
chestra conducted by Heinrich Hollreiser. One
side, and Stravinsky: Concerto for Piano and
Wind Orchestra. MewtomWood (piano) and
members of the Residence Orchestra conducted
by Walter Goehr. M2" disc (*CH'CHS'l 160)
$5.95.

Prokofiev: Concerto No. 2 in G minor, Op. 63.

Zino Francescatti (violin) with the Philharmonic'
Symphony Orchestra of New York conducted by
Dimitri Mitropoulos. One side, and Bach: Con-
certo No. 2 in E. Zino Francescatti (violin) with
the Columbia Symphony Orchestra conducted by
George Szell. M2" disc (*C'ML'4648) $5.45.
The Concert Hall disc of the Prokofiev violin
concerto features some splendid violin playing by
the young Ricardo Odnoposoff who, though still in
his thirties, is a recognized master of his instrument.
His performance is formidable competition indeed

for Szigeti and Oistrakh, both of whom have also
recorded this work. Considering the quality of re'
production, we would give this disc preference to
either of the others. The Stravinsky piano concerto
was mentioned in our review in the April TNR,
when we said the version conducted by Stravinsky
himself superceded this one on the basis of authen'
ticity. As any disciple of Stravinsky would agree,
that is true. However, for those who may be inter'
ested in this disc for the works that it offers, we
would say that Mewton'Wood and Walter Goehr
succeed in making this music more palatable by
virtue of a less taut performance and a more roman'
tic style of playing, also aided by reproduction of
a sweeter variety than offered by Victor. The disc
is recommended primarily for the superb violin per'
formance, and for a mighty good sounding, if less
authentic reading, of the Stravinsky. We thought
the reproduction especially attractive — bright but
not brittle.

One of the great fiddlers of our day and quite
a favorite with American audiences, Zino Frances'
catti, appears on a disc with two greatly contrasting
works. About the only thing these two have in
common is Francescatti’s superior playing. The Pro'
kofiev was previously recorded by Heifetz and Kous'
sevitzky and reissued on Victor’s Treasury Series
(*V'LCT'6). For various reasons, mostly mechani'
cal, we would choose the newer Francescatti disc.
Such a choice gives us the Prokofiev on one side of
a twelve'inch disc, compared to both sides of a ten'
inch by Heifetz. And on the reverse, Francescatti
offers a magnificent reading of one of our all'time
favorite concertos, the Bach Second. There are
several other fine recordings of this work, but none
any better than this; and Szell provides a sparkling
accompaniment with a correctly proportioned orches'
tra, including harpsichord. The reproduction of both
sides of this disc is of today’s finest. Nothing but
praise for this one. S.

MacDowell: Concerto No. 2 in D minor, Op. 23.

Jesus Maria Sanroma (piano) with the Eastman'

Rochester Symphony Orchestra conducted by

Howard Hanson. One side, and Hanson: Sym-
phony No. 2, Op. 30 (“Romantic”). Eastman'

Rochester Symphony Orchestra conducted by

Howard Hanson. M2" disc (*C'ML'4638) $5.45.

A previous recording of the MacDowell concerto
was reviewed here in the July 1952 issue. It was
performed by Alexander Jenner and the Vienna State
Opera Orchestra under Swoboda (*CH'CHS'l 1 37),
and we found it to be a good job. The coupling on
that disc is MacDowell’s Woodland Sketches beauti'
fully played by Arthur Balsam. If you wish the
concerto, we would almost say that the matter of
the coupling could determine which disc to acquire,
for both recordings are fine. The present disc has
a more brilliant type of reproduction. Sanroma and
Hanson offer a reading which is thoroughly idiomatic.

PAGE 7

"THE WORLD’S RECORD SHOP"

• Indicates LP 88 ^ rpm.
0 Indicates 45 rpm.

may The Ntfze> Records 1953

nicely styled, and well played. We discussed the con'
certo and MacDowell at length in the above men'
tioned review and refer the reader to that for com'
ment on the work.

Hanson and the Eastman'Rochester Orchestra
recorded the “Romantic" symphony some years ago
for Victor, a set now out of print. This is its first
LP recording. Composed in 1930 for the fiftieth
anniversary of the Boston Symphony, Dr. Hanson at
that time supplied this information about the work:
“Concerning my Second Symphony, as the subtitle
implies, it represents for me a definite and acknowh
edged embracing of the romantic phase. I recognise,
of course, that romanticism is, at the present time,
the poor stepchild, without the social standing of
her elder sister, neo'dassicism. . . . My aim, in this
symphony, has been to create a work young in
spirit, romantic in temperament, and simple and
direct in expression."

Those thoughts appear as sound today as they did
two decades ago. The work remains a pleasant com'
position for those who like listenable, down'to'earth
music. It is no watered'down Tchaikovsky; it is not
without dissonance. We would suggest that anyone
who likes Sibelius would find this work of interest.
Hanson and the orchestra present a handsome state'
ment of the music, for he is an accomplished con'
ductor; and the orchestra plays well. S.

Liszt: Concerto No. 1 in E-flat. One side, and
Mendelssohn: Concerto No. 1 in G minor, Op.

25. Jose Iturbi (piano) conducting the RCA Vic'
tor Symphony Orchestra. 4'7" discs in box (0V'
WDM'1734) $5.14. M2" disc (*V'LM'1734)
$5.72.

This pair of concertos belongs squarely in the
class of “war'horses," and Iturbi plays them as such.
The Liszt “triangle concerto," as its unfortunate
nickname identifies it, has been committed to LP
discs by several other piano artists of our day, in'
eluding Rubinstein. The Mendelssohn First Concerto
has also had several other successful recordings of
late. While everyone jangles and skitters through the
Liszt, we doubt whether any of the rest of them
play it with a brassier, more percussive effect than
Iturbi. His playing is, as usual, very accurate and
also exceptionally clean and clear. As a model for
one studying this work, it would be hard to beat,
for he clearly reveals every note in the score, and
the reproduction is inclined to favor the solo instru'
ment, which also adds to the clarity. If you want a
really clangy and rousing performance of this old
thriller, here it is. The other recordings use dif'
ferent couplings, including Westminster’s disc
(*WEST'WL'5168) which couples the Liszt Sec'
ond Concerto and features super'brilliant reproduc'
tion.

The Mendelssohn concerto is also available with
the same composer’s Second Concerto as a coupling
(*D'DL'9652), performed by Roloff and Lehmann

and the Bamberg Symphony. You may, therefore,
acquire the two Liszt concertos and the two Men'
delssohn concertos on single LP’s; or if you wish
just one of each composer’s concertos for your
library, then the present Iturbi disc will fill the bill.

S.

Handel: Concerto in G minor, Op. 4, No. 1 . One
side, and Handel: Concerto in B-flat, Op. 4,

No. 2. Jeanne Demessieux (organ) with l’Orches'
tre de la Suisse Romande conducted by Ernest
Ansermet. M2* disc (*L'LL'695) $5.95.

Those who would like to own a recording of one
or two Handel organ concertos may have passed up
the Vox albums released last year, for they each had
six concertos on two LP’s. We now have a single
LP with a pair of concertos although they are quite
different from the Vox series. Kraft, the organist
for Vox, and his accompanying orchestra under
Reinhart, have a bright, rippling, transparent style
that is prevailingly light and gay. Even in the slow
movements their texture is clear and cool, and
throughout the works the organ is a small instru'
ment of clarity rather than weight. In this new
disc, we are back to the old idea of a large, rich'
voiced instrument. Ansermet has a slower'paced,
more introspective style of Handel interpretation,
and the whole canvas results in something larger,
richer, and in a sense more elegant than the Vox
recordings. The only thing actually undesirable in
the present set is the thickness of pedal passages in
the tuttis. Otherwise, we would say Demessieux
and Ansermet offer a convincing account of their
ideas about Handel. We think Kraft and Reinhart
provide a more accurate picture of how these con'
certos should sound, mainly because they have a
lighter and less ponderous touch, and these works
are generally conceded to be a light form of enter'
tainment rather than a heavy study of any kind.
One hesitates to criticize too sharply the work of
Demessieux and Ansermet; Demessieux plays admir'
ably and often with sensitive beauty in the slow
movements as well as accuracy in the faster ones.
And Ansermet prepares the orchestral part with
care and beautiful finish; neither of them is guilty
of sentimentalizing the music. You may find this
treatment much to your taste and completely enjoy'
able; we think Kraft and Reinhart have a better
idea in the light, clear, breezy style of their sets. S.
Liszt: Concerto No. 1 in E-flat. One side, and
Liszt: Concerto No. 2 in A. Edith Farnadi (piano)
with the Vienna State Opera Orchestra conducted
by Hermann Scherchen. M2" disc (*WEST'WL'
5168) $5.95.

Eschewing the gaudiness usually associated with
these concerti (but not necessarily a part of them)
Dr. Scherchen produces a performance which is
sensational only in the degree of taste it exhibits —
a conductor’s performance throughout, the piano and
pianist being relegated to the positions they prop'

• Indicates LP 88 ^ rpm.
0 Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 8

MAY

The N ew Records

1953

erly deserve. This record, therefore, should appeal
more to the musically sophisticated than to the
novice. The idea of combining both concerti on one
disc, which is original with Westminster, is a minor
but significant indication of their musical intelli-
gence. ]

Bach: Concerto No. 3 in D. One side, and Bach:
Concerto No. 4 in A. Kurt Rapf (harpsichord)
with the Vienna Chamber Orchestra conducted
by Kurt Rapf. M2" disc (*BG'BG'509) $5.95.

Bach: Concerto No. 3 in D. One side, and Bach:
Concerto No. 6 in F. Maria van der Lyck (harp'
sichord) with the Stuttgart TomStudio Orchestra
conducted by Hans Michael. IT 2" disc (*PE'
SPLP'547) $5.95.

Except that there seems to be a slightly better
balance between the harpsichord and the orchestra
on the Bach Guild recording (*BG'BG'509) than
on the Period disc (*PE'SPLP'547), there is little
to choose between them. It is pretty much a matter
of which coupling you will prefer. Reproduction on
both records is excellent and the soloists in both
cases are highly capable artists.

Haydn: Concerto in D, Op. 101. Enrico Mainardi
(violoncello) with the Berlin Philharmonic Or'
chestra conducted by Fritz Lehmann. MO" disc
(*D'DL'7536) $3.85.

Gluck: Concerto in G for Flute and Orchestra.

Jean Pierre Rampall (flute) with the Paris Phil'
harmonic Orchestra conducted by Rene Leibo'
witz. One side, and Corelli: Concerto for Oboe
and Strings. Pierre Pierlot (oboe) with the Paris
Philharmonic Orchestra conducted by Rene Leibo'
witz. And Haydn: "Toy” Symphony in C. Or'
chestre Radio'Symphonique de Paris conducted by
Rene Leibowitz. M2" disc (*OCOCS'29) $5.95.
Enrico Mainardi (with his singing cello) wades
through the buckets of tears he apparently conceives
the Haydn Concerto to be. To have gotten through
the whole work while suffering so greatly the roman'
tic agony is indeed a great tribute to his unoppressed
spirit. Of course the fact that his tempi are mostly
wrong and his phrasing imprecise is overshadowed
by the nobility evinced.

Whoever coupled the works on the Oceanic disc
had as much a sense of humor as a sense of music.
The Gluck Concerto is strictly rococco fluff. The
Corelli work is largely stolen from Handel (but quite
well stolen). And if you don’t know the Toy Sym'
phony, among other things it has three birds in it.
Gliere: Concerto for Harp and Orchestra. Dulova
(harp) with the National Radio Orchestra con'
ducted by Gauk. One side, and Rimsky-Korsakov:
Symphony No. 3 in C, Op. 32. National Radio
Orchestra conducted by Gauk. M2" disc (*PE'
SPL'567) $5.95.

NOTE: For review of this disc see under OR'
CHESTRA.

CHAMBER MUSIC

Piston: Quintet for Piano and Strings. Earl Wild
(piano) with Walden String Quartet. One side,
and Martinu: Quartet No. 6. Walden String
Quartet. M2" disc (*WCFM'LP'14) $5.95.

Piston: Sonata for Violin and Piano. One side,
and Lopatnikoff: Sonata No. 2 for Violin and
Piano. Op. 32. Joseph Fuchs (violin) and Artur
Balsam (piano). M2" disc (*D'DL'9541) $5.85.
For those interested in music in the modern idiom
these two LP discs will be of particular appeal. The
three composers represented are all now living in
the United States. Walter Piston is American born;
Martinu was born in Czechoslovakia and came to
this country in 1941; and Lopatnikoff claims Russia
as his native land and arrived in New York in 1939,
after an extended stay in Germany.

All of the works found on this pair of discs
must be approached with a sympathy for the
modern idiom, or at least a desire to expose oneself
to it without prejudice. This is not the sort of
music that one can grasp in a moment — repeated
hearings are necessary before one can begin to
appreciate it. For those who would like to investi'
gate the type of music that these three important
modern composers are writing, the opportunity is
at hand via these splendid recordings by artists who
are ideally suited to the task they have set for
themselves — not an easy task by any means; for
while this music may not sound particularly difficult,
we can assure you that it is.

CHORAL

Bruckner: Mass No. 3 in F minor (“Great”). Doro'
thea Siebert (soprano), Dagmar Herrmann (alto),
Erich Majkut (tenor), Otto Wiener (bass), Aka'
demie Kammerchor and Vienna State Philharmonia
conducted by Ferdinand Grossman. M2" disc
(*VX'PL'7940) $5.95.

Janacek: Slavonic Mass (“Msa glagolskaja”) .

Moravian Mixed Chorus and Brno Radio Sym'
phony Orchestra conducted by Bretislav Bakala,
with Frantisek Michalek (organ). M2" disc
(*UR'URLP'7072) $5.95.

“The three Masses — in D Minor, F Minor and
E Minor — and the Te Deum, are the peak of Bruck'
ner’s sacred compositions. Here not only does his
own individual religious feeling display itself but
the fundamental idea of the source — Christ’s sacrifice
for humanity — is felt through music of high and
illustrative inspiration.” Thus writes Dr. Werner
Wolff in his excellent biography and criticism of
Anton Bruckner. These vtords sum up, most sue'
cinctly, the essence of the “rustic genius” who wrote
such monumental and architectural music. The writ'
ing of settings for the Mass came easier to Bruckner,

• Indicate* LP 8 8^5 rpm.
0 Indicate* 45 rpm.

PAGE 9

"THE WORLD’S RECORD SHOP"

MAY

The Records

1953

and there is none of the striving for expression one
senses throughout the nine symphonies. Dr. Gross'
man and his forces give a rousing performance of
this great work. The soloists, it is true, are at times
something less than adequate, but the over all effect
is not diminished by these evidences of human
weakness.

So different as to be actually startling is the almost
barbaric Msa glagols\aja by Leos Janacek (1854'
1928). This work had its first performance at Brno
in 1928 shortly after Janacek's death and was intro'
duced to this country at a concert by Bodansky in
1930. At that time it was emphasized that the piece
was not, except in form, a mass of the Church —
Janacek himself did not intend it for performance
in church. It is a subjective work from start to
finish. The melodies are not too involved, rather
straightforward, but the harmonies are; and they
often swallow up the tunes. The performance here,
by the chorus and orchestra of the composer's own
city of Brno may be considered authentic. Certainly
it is a robust one, full of dramatic dynamic contrasts
and tempestuous vitality. Technically the disc rates
with the best recording of today. Excellent note?
and the text are supplied. W.

Mascagni: Cavalleria Rusticana (complete). (Sung
in Italian). Margaret Harshaw, Mildred Miller
(sopranos); Richard Tucker (tenor); Thelma
Votipka (mezzo-soprano); Frank Guarrera (bari'
tone); Chorus and Orchestra of the Metropolitan
Opera Association conducted by Fausto Cleva.
Three sides, and Leoncavallo: Pagliacci (com'
plete.) (Sung in Italian). (TNR Oct. '51). Lu'
cine Amara soprano); Richard Tucker, Thomas
Hayward tenors); Giuseppe Valdengo, Clifford
Harvuot baritones. Chorus and Orchestra of the
Metropolitan Opera Association conducted by
Fausto Cleva. 3' 12" discs in album (*C-SL-124)
$17.85.

Mascagni: Cavalleria Rusticana (complete). (Sung
in Italian). Margaret Harshaw, Mildred Miller
(sopranos); Richard Tucker (tenor); Thelma Vo'
tipka (mezzo-soprano) ; Frank Guarrera (bari'
tone); Chorus and Orchestra of the Metropolitan
Opera Association conducted by Fausto Cleva.
Three sides, and Verdi: La Forza del Destino —
Overture. And Verdi: La Traviata — Preludes to
Acts I 6? III. And Verdi: I Vespri Siciliani —
Overture. Orchestra of the Metropolitan Opera
Association conducted by Fausto Cleva. 2' 12"
discs in album (*C-SL-123) $12.11.

This is the fourth Cavalleria Rusticana on LP;
the previous ones on RCA Victor (Gigli at the prow
and Mascagni at the helm) (TNR Mar. '53) and
Cetra (TNR Dec. '51) were both (this reviewer
has not heard the Remington) emminently acceptable
performances of this very popular opera and the

advent of the Metropolitan Opera Association per'
formance was viewed rather dimly.

The cast is assembled from among the best singers
on the company's roster and, by and large they do
a good job. Richard Tucker, as Turridu sings in stem
torian tones, accurate pitch and the absolute mini'
mum of expression. His opening siciliano lacks the
required sensuousness and the closing aria, Mama,
quel vino e generoso, has little of the fire and despera'
tion inherent in the situation and music. Margaret
Harshaw, as the unfortunate Santuzza, sings well
enough but is only a little more successful than
Tucker insofar as any real characterization is con'
cerned. The well known Voi lo sapete is delivered
with good style and considerable vocal opulence —
nothing more. The duet that follows is passably done
but like so many Anglo'Saxon performances of pas'
sionate music, the singing is over-refined. Frank
Guarrera, as Alfio, fails to impress.

The orchestra and chorus do yeoman work and,
on the whole, turn in the best performances of all.
Cleva’s direction here, as elsewhere, strikes this
reviewer as pedestrian and lacking in distinction
which is the set's chief weakness. The recording is
uniformly good; this is, technically at least, the best
Cavalleria Rusticana on discs.

Columbia has thoughtfully packaged the new
release in two ways. One couples it with the pre'
viously issued I Pagliacci, while for those who have
Pagliacci, it is issued alone, with the fourth side
devoted to the sparklingly recorded but dully played
Verdi excerpts listed above. W.

Wolf-Ferrari: I Quattro Rusteghi (“School for
Fathers") (complete). (Sung in Italian). Gianna
Perea Labia, Alda Noni, Ester Orell (sopranos);
Agnese DuEbini (mezzo'soprano) ; Mario Carlin,
Manfredi Ponz de Leon (tenors); Carlo Ulivi
(baritone); Fernando Corena, Pasquale Lombardo,
Cristiano Dalamangas (bassos); Orchestra of
Radio Italiana conducted by Alfredo Simonetto.
3' 12" discs in album (*CE-LP-1239) $17.85.

A real curiosity is Wolf-Ferrari's delightful opera'
buffa I Quattro Rusteghi. This sparkling comedy has
had a checkered history. It was first produced in
Germany (Munich) in 1906; the first Italian per-
formance was in 1914 (Milan) but the American
premiere did not take place until October 1951 when
it was mounted by the New York City Opera Com-
pany. On this latter occasion it was received with
critical acclaim, being pronounced a “masterful score
— in every way charming" (Virgil Thompson) and
“a delectable little bon-bon of a comic opera" (Olin
Downes).

For this recorded production Cetra engaged the
services of some of the best Italian singers available.
Fernando Corena brings to the role of Lunardo his
usual understanding and intelligence along with his
fine voice. Alda Noni, as Marina, gives a genuinely
fine and musicianly interpretation of the kindly aunt.
Vocally, she lives up to the high standards she has

• Indicate* LP 83^ rpm.
g Indicate* 45 rpm.

H. ROYER SMITH COMPANY

PAGE 10

MAY

The Nm Records

1953

set in previous recordings. Mario Carlin is a tenor
new to records, and he sings the role of Filipeto
with taste and assurance. There are many others in
the very long cast; most of them are excellent but
lack of space precludes more than a brief mention
ol those who are outstanding. Crisiano Dalamangas
as the merchant Cancian is superb, and Ester Orell,
as his wife Felice, also merits praise.

Alfredo Simonetto directs a performance notable
for its genuinely musical qualities. He has obviously
taken considerable pains with the production with
the usual result — a performance that charms and
convinces. Naturally, the music is neither profound
nor, to be honest, really great. Wolf-Ferrari's avowed
intention as a composer was to make people happy,
to provide enjoyment “for all who can not create
(it) for themselves.” In this necessarily limited field
I Quattro Rusteghi may be considered an unqualified
success. The usual Cetra excellence prevails as re'
gards libretto, notes and recording. W.

Bellini: La Sonnambula (complete). (Sung in
Italian). Lina Pagliughi, Wanda Ruggeri (so'
pranos); Ferruccio Tagliavini, Armando Benzi
(tenors); Annamaria Anelli (mezzo-soprano);
Cesare Siepi, Piero Poldi (bassos); Chorus of
CETRA; Orchestra of Radio Italiana conducted
by Franco Capuana. 3-12" discs in album (*CE-
LP-1240) $17.85.

Bellini’s first popular success, La Sonnambula, has
finally reached the recording studios and emerges as
a solid, if not overly inspired, opera. Now it is en-
tirely possible that the singers, while ostensibly of a
high degree of competence, do not have the proper
schooling in the style required for a superior per-
formance, for this reviewer finds it hard to under-
stand, from these records, the reasons for the im-
mense popularity the work enjoyed in past years.
The plot is light, the music matches it, and, apart
from the numerous opportunities for bel canto, some
coloratura acrobatics and a few sweet melodies, the
piece has little to recommend it.

From the foregoing it can be deduced that La
Sonnambula is strictly a singer’s opera; so let us ex-
amine the singers. Lina Pagliughi, once one of
Italy’s foremost coloraturas, essays the role of
Amina, a role, incidentally, sung by all the great
sopranos from the fabulous Guidetta Pasta (the
original Amina) down to Galli-Curci. She is mod-
erately successful. Miss Pagliughi has two principal
arias, both in the last act, and these are sung very
sweetly; but the bloom is definitely off her once glor-
ious voice. In former times the high notes were as
steady as could be, but now they have more than a
tendency to waver. This deficiency is covered up in
the rapid passages, and the florid music is tossed
off with consummate ease. Ferruccio Tagliavini is a
wooden, rather undistinguished Elvino. This may
be the fault of the libretto but one cannot escape the
feeling he should have been able to do something

about it. Siepi is also strictly two-dimensional as
Rodolfo, singing the beautiful Vi ravviso a luoghi
ameni perfectly but with virtually no expression.

Chorus and orchestra under Maestro Capuana (an
excellent conductor, by the way) do yeoman work;
yet the opera does not really come alive. Maybe one
was expecting too much. In all events, La Sonnam -
bula is available and those interested are advised to
proceed with caution. Hear this one first. W.

Mozart Bass Arias. Fernando Corena (bass) with
orchestral accompaniments. 1-10" discs (*L-LS-
671) $4.95.

CONTENTS: Don Giovanni — Madamina, il cata-
logo; Don Giovanni — Ah! Pieta, signori miei; Nozze
di Figaro — Tutto e disposto; 1<lozze di Figaro — Non
piu andrai; K[ozze di Figaro — Se vuol ballare; “Hozze
di Figaro — La vendetta; Z auberflote — In diesen
heil’gen Hallen; Cosi fan Tutte — Donne mie, la
fate a tanti.

Famous Operatic Excerpts. Fernando Corena (bass)
and Aldo Protti (baritone) with l’Orchestre de la
Suisse Romande conducted by Alberto Erede.
1-10" disc (*L-LS-701) $4.95.

CONTENTS: Elisir d’Amore — Udite, udite, o
rustici; Don Pasquale — Ah! un foco insolito; La
Gazza Ladra — II mio piano e preparato (Corena).
Trovatore — II balen del suo sorriso; Pagliacci — Pro-
logue; Barbiere di Siviglia — Largo al factotum
(Protti).

Fernando Corena is rapidly building up a sound
(no pun intended) reputation in this country via
his many excellent operatic performances on records.
He adds considerably to his stature with the first of
these two discs. It so often happens that a singer,
gifted in many ways, falls flat on his face, as it
were, when attempting Mozart. Thus it is very
gratifying to find Corena singing Figaro, Leoprello
and Don Alfonso with excellent style and musician-
ship. He wisely does not attempt Don Giovanni
but does an amazing job with Sarastro’s In diesen
heiVgen Hallen and in German, too. The disc rep-
resents a considerable feat both vocally (Corena has
a superb basso cantante that is beautifully produced
and handled) and interpretively. He needs bow to
no one with these performances although in all hon-
esty one must admit that there are others equally
good.

The second disc, of which Corena has only one
side, is notable for an example from Rossini’s almost
forgotten opera La Gazza Ladra that is not only de-
lightful music but also an impressive performance.
The wonderful Udite, udite o rustici (sung here
without the choral passages) is another superlative
effort. Least interesting, although only by compari-
son, is the Don Pasquale e£cerpt.

After the foregoing music it comes as a sort of
slap in the face to hear three of the more hackneyed
operatic excerpts sung in what must be described

PAGE II

“THE WORLD'S RECORD SHOP”

• Indicates LP 88 ^ rpm.
0 Indicates 45 rpm

may The Ntfze; R ecords 1953

as routine fashion by an able baritone, Aldo Protti.
Sgr. Protti has a somewhat throaty but pleasing
voice that is not exceptional in any way and has
interpretive abilities and musical taste of the same
calibre. For example, he is unable to resist the urge
to be “cute''* and thus fouls up the detail in the
Barbiere aria. A stronger pairing than this could
be imagined without too much difficulty.

Adequate recording and somewhat less than sat'
isfactory notes are supplied. W.

Boito: Mefistofele (complete). (Sung in Italian).

Rosetta Noli (soprano), Gianni Poggi (tenor),
v^Giulio Neri (basso), supporting soloists, Chorus
and Orchestra of the Opera di Milano conducted
by Franco Capuana. 3-12" discs in album (*UR'
URLP'230) $18.50.

Boito’s only surviving opera, Mefistofele, receives
a stunning first LP performance on this new Urania
set. For a work that has been maligned as much as
this, it comes as a very pleasant surprise to hear a
work that abounds in lyric melodies, has living char'
acters and a libretto that not only makes sense but
that also contains more than a modicum of the phih
osophy of the original play.

When first produced in 1861, Mefistofele was a
failure due to its inordinate length. Boito very sen'
sibly withdrew the work and pruned it to a more
reasonable duration; seven years later it was pre'
sented with great success. The piece follows the
story of Goethe’s great play in considerable detail,
including both “Sabbaths.” Boito’s characters are,
to a great extent, all three'dimensional; they are
real. Ernest Newman once wrote that the only oper'
atic devil that carried any conviction was Berlioz’ —
but when he wrote those lines he had not heard
Giulio Neri in Mefistofele, although much of the
realism and strength of the role is inherent in the
music.

One has nothing but praise for the sterling cast
of singers Urania cornered for this recording. Neri,
in the title role, sings magnificently. He has a rare
understanding of the part and is uniformly success'
ful. The arias Ecco il mondo and Son lo spirito
che nega will stand comparison with the greatest.
Gianni Poggi surprises as Faust. He sings through'
out with excellent taste, with good expression and
in a smooth tenor that is most agreeable. Rosetta
Noli is a newcomer to records and her Margherita is
notable for its fresh, youthful manner that is as be'
coming as it is rare. Her work in the half hysterical
Garden Scene, as well as in the moving Prison Scene,
go a long way towards making the performance as
successful as it is. Others in the long cast, notably
Simone dall’Argine as Helen of Troy, sing well and
with conviction.

Maestro Capuana does a thoroughly musicianly
job with the complex music. He is, in fact, a conduc'
tor to be reckoned with, for throughout the long
score he never relaxes his firm grip, (both on the

singers and orchestra) and the results speak for
themselves. A good libretto, notes, and technically
superior recording complete this extraordinarily fine
operatic issue. W.

Stravinsky: Oedipus Rex. (Sung in Latin). Martha
Modi (mezzo'soprano) ; Peter Pears, Helmut Krebs
(tenors); Heinz Rehfuss (baritone); Otto von
Rohr (bass); Cologne Radio Symphony Orchestra
and Chorus conducted by Igor Stravinsky, with
Jean Cocteau (narrator), l'l 2" disc (*C'ML'
4644) $5.45.

It was back in the glamorous Twenties (in 1925
to be exact) that Igor Stravinsky had the idea of
writing a large scale work on a Latin text. He de'
cided on Sophocles’ tragedy Oedipus Rex and then
asked Jean Cocteau to collaborate with him. M.
Cocteau “telescoped” the original Greek play into
six episodes, and the entire text was rewritten into
Latin. The piece is subtitled an “opera'oratorio” and,
as the term indicates, is a fusion of both disparate
forms. The various choruses and arias partake of
the oratorio style, perhaps, more than opera; but
a genuine attempt has been made to combine the
two — not always successfully.

The recording, under the composer’s direction
and with Cocteau as Narrator may be considered
definitive. The soloists, while far from being the best
singers available, are well versed in the idiom and,
apart from some ineffectual tenor singing by Pears,
do pretty well. The chorus and the orchestra bear
the brunt of the burden and both acquit themselves
creditably.

Musically, one must confess to being unimpressed
by all the sound and fury. The nature of Oedipus
Rex (and for that matter nearly all of Stravinsky’s
music) has been accurately analyzed by the late
Constant Lambert, who wrote “ Oedipus Rex may
differ in outward shape (from previous compositions)
but the mentality behind these fabrications remains
the same. They are not so much music as renowned
impersonations of music. Oedipus has all the para'
phernalia of tragedy, and the only thing wrong with
it is the complete lack of any genuine pity or genuine
terror. . . .”

Columbia has achieved a good technical job of
recording, but to issue such a work as this, French
narration and Latin text, without a complete libretto
is the height of something or other — it will certainly
be unintelligible to many who might otherwise be
interested. As a first recording of an historical
work, then, this release will have a certain interest,
but will this interest last? W.

Ravel: L’Heure Espagnole (complete). (Sung in
French). Soloists and l’Orchestre Radio'Sym'
phonique de Paris de la Radiodiffusion Franchise
conducted by Rene Leibowitz. IT 2" disc (*VX'
PL'7880) $5.95.

L'Heure Espagnole, a delightful one act opera by
Ravel, was first produced at the Paris Opera'

• Indicates LP 38 y 3 rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE II

MAY

The N ew R ecords

1953

Comique on 19 May 1911. It has, according to
Ernest Newman, “one of the finest libretti ever writ'
ten." And, in truth, the story is a delightful one;
but since Vox subscribes to the theory that the words
of an opera are of no interest, no opportunity is
given the buyer to check on Newman’s statement
nor follow the opera, for no text is supplied with
the record.

The cast is drawn from excellent French singers,
many of whom are becoming well known in this
country via their recordings. Janine Linda is an
above average light soprano who makes a very pleas'
ing Concepcion. Her husband, Torquemada (such a
name for the old clock maker!) is sung, if the ex'
pression is the proper one, by Jean Mollien. This
role calls for a tenor, but a special kind, known as
Trial, after the famous 18th century singer Antoine
Trial who sang in a high somewhat thin and nasal
voice. M. Mollien does his best. As Gonsalve, the
poet, Andre Dran is in good voice and fine spirits
and so turns in a good performance. The hero, if
there is one, is Ramiro, the muleteer, and is sung
by Jean Hoffman. Here again, a special voice is
called for — a baritone'Martin. Jean Blaise Martin
was a well'known French baritone, noted for a voice
which was almost a tenor in its upper range and a
bass in its lower. This is quite an order and Hoff'
man, while not entirely equal to the task (who
would be nowadays?) is, in all events, obliging.
Lucian Mans as Don Inigo Gomez (basso buff a)
is excellent.

Much of the charm of the piece lies in the or'
chestra where Ravel’s undoubted genius is apparent
in every note. Rene Leibowitz, who seems to have
no limitations either as to understanding or style,
directs a performance that has wit and interest. While
L'Heure Espagnole will not please every taste, it is
decidedly worth investigation. Superb recording is
in evidence and, as mentioned above, if a libretto
had been included, the release would have been a
noteworthy one. W.

Glinka: A Life for the Czar (complete). (Sung in
Russian). Tanya Shpieler (soprano); Elena Am
tonova (alto); Georg Nelepp, Ivan Skobtsov
(tenors); Maxim Mikhailov, Serge Khossov, Serge
Svetlanov (bassos); Chorus and Orchestra of the
Bolshoi Opera conducted by Alexander Melik'
Pashaiev. 3 ' 1 2 " discs in album (*VAN'VRS'
6010/2) $18.50.

Mikhail Glinka, often referred to as the “Father
of Russian Music" has usually been represented on
records and concert programs in this country almost
solely by the sparkling overture to Russian and Lud'
milla. One has read a lot about other operatic works,
especially A Life for the Czar, but opportunities to
hear them have seldom materialized. Thus a debt
of gratitude is due Vanguard for making available
a production of this landmark of Russian operatic
literature.

A Life for the Czar was written during the period
1834'36 and the first performance took place, amid
scenes of great enthusiasm, at St. Petersburg in
November of 1836. The story is laid in the 17th
century and concerns the heroism of the peasant
Ivan Sussanin during the RussO'Polish wars, a date
alternatively given as 1612 and 1633. Musically
speaking Glinka, although he never succeeded in
freeing himself from Western musical influences, was
one of the first of the Russian composers to cultivate
a melodic style based on national folk songs and
dances. He also developed a “harmonic and orches'
tral treatment not only admirably suited to them and
unmistakably Russian," writes Cecil Gray, “but also
highly original at the same time."

These qualities are apparent in A Life for the
Czar and this performance, while not notable for
excellent singing (although, as is so often the case,
none of participants are really bad), it does have
an aura of authenticity about it. The principal role,
that of the peasant Ivan Sussanin, is sung with con'
siderable fervor by Maxim Mikhailov, a moderately
gifted basso. The part of Antonida, his daughter, is
sung by Tanya Shpieler, who scoops and wobbles her
way around high notes and transmits her obvious
discomfiture to the listener. Others in the long cast
are of varying degrees of competence.

Chief interest in this work, as is true of so many
of the little known and unusual works that are
being recorded nowadays, lies in its newness, its
unfamiliarity — how it will wear is a big question
mark. This one, what with the uneven singing and
the relatively poor recorded quality (despite the
obviously carefully edited tapes) did not appeal
overmuch to this reviewer. The English text only
has been supplied as a libretto. W.

vocal 2

Mozart Concert Arias. Magda Laszlo (soprano)
with the Orchestra of the Vienna State Opera
conducted by Argeo Quadri. 1'12" disc (*WEST'
WL'5179) $5.95.

CONTENTS: Ah, lo previdi !, K. 272 ; Chi sa,
chi sa, qual sia, K. 582; Vado, ma dove?, K. 583;
Ch’io mi scordi di te?, K. 505; Bella mia fiamma,
K. 528.

Records by Magda Laszlo are always an occasion
for rejoicing; and when, as in this case, the composer
is Mozart, the treat promises to be a rare one indeed.
Nor is this disc a disappointment — on the contrary
all one’s expectations are fulfilled and, in several
instances, surpassed.

Miss Laszlo begins with an early work (K. 272),
the text of which was taken from an opera by
Paisiello, a common practice in those days. What is
uncommon about this work is that it was not written
as an exercise or for interpolation into someone else’s
opera. It was written for concert use, specifically for
Josefa Duschek. The next two arias, while written

• Indicate* LP rpm.
0 Indicate* 45 rpcn.

PAGE 13

‘THE WORLD'S RECORD SHOP"

MAY

1953

The N ew Records

late in Mozart’s life, revert to an earlier practice
and are intended for use in operas composed by
other musicians, in this instance a long forgotten
piece by Vincente Martin. Musically they are of a
high order and of formidable technical difficulty.
The prize of the collection is the aria Ch’io mi
scordi di te, which is, in reality, a duet for piano
and soprano with orchestral accompaniment. It is
one of Mozart's most personal and consequently
greatest works. The aria was written for Nancy
Storace, the Susanna of the original production of
Le y^ozze di Figaro. The last work, K. 528, dates
from 1787 thus placing it at the time of the Prague
performances of Don Giovanni. This, like the first
aria on the record, was also written for Josefa
Duschek and was reportedly to show off her voice.
Certainly it is a piece requiring the utmost in tech'
nique and yet remains good music.

Magda Laszlo sings all this wonderful music in
superb style. Vocally, of course, she is always capable
and sure. The technical difficulties are surmounted
with deceptive ease. What is equally important is
her ability to project the mood — to underscore the
meaning of the words with expression, to color the
phrases and make them communicative. In this she
is aided by Quadri’s exceptionally sensitive direction
and Westminster’s crystal clear recording. As is
usual with this fine company, the notes set a high
standard and the complete texts of the arias are
supplied. A must for all Mozarteans! W.

Brahms: Liebeslieder Waltzes, Op. 52. One side,
and Brahms: German Folk Songs. (Sung in
English). Roger Wagner Chorale directed by
Roger Wagner. M2" disc (*CL'P'8176) $4.98.

Brahms: Liebeslieder Waltzes, Op. 52. One side,
and Brahms: Neue Liebeslieder Waltzes, Op. 65.

(Sung in German). Erna Hassler (soprano), Hetty
Pliimacher (alto), Albert Weikenmeier (tenor),
Franz Kelch (bass) with Hans Michael and Hans
Priegnitz (pianos). IT 2" disc (*OC'OCS'28)
$5.95.

Here we have a choice of Brahms’ Liebeslieder
Waltzes, Op. 52 sung by a small chorus in English
or as originally written for mixed quartet in German.
One cannot compare these two versions as they
sound so entirely different. For those who are familiar
with these lovely songs to hear them sung in English
will doubtless sound a bit strange. One will have to
decide for himself whether he likes them that way
or not . . . The Capitol disc also contains some
German folk songs selected from a collection which
Brahms had published in two volumes without opus
numbers. On the reverse side of the Oceanic disc
is a second set of Liebeslieder which appeared six
years after the first group. These are entirely differ'
ent from the earlier pieces and have never gained
the popularity of the first set. This is probably
because, while the first songs abound with the joy
and rapture of youthful love, the second group is

made of sterner stuff and lack the delightful spon'
taneity that characterizes the earlier ones.

Bernstein: Wonderful Town. Rosalind Russell with
members of the Original New York Production.
7'10" discs in album (D'DA'937) $6.98. 6'7"
discs in box (0D'9'391) $5.69. M2" disc (*D'
DL'9010) $5.85.

Rodgers: On Your Toes. Portia Nelson, Jack Cas'
sidy, supporting soloists with chorus and orches'
tra conducted by Lehman Engel. M2" disc (*C'
ML'4645) $5.45.

This month Decca offers the present Broadway
smash hit. Wonderful Town, recorded by the mem'
bers of the original cast headed by Rosalind Russell;
and Columbia presents another of its recorded pro'
ductions of smash hits of another period, On T our
Toes, which made its bow on the Great White Way
in 1936. Thus those who are interested in popular
“Musicals” have an opportunity of comparing what
was the rage in the thirties and what appeals to
the theatre going public of today. Rodgers and
Hart's On T our Toes certainly seems to wear very
well — its big song hits “There’s a Small Hotel” and
“Slaughter on Tenth Avenue” seem just as fresh
and sparkling today as when we first heard them
nearly twenty years ago. We doubt that Leonard
Bernstein’s ditties will last as long. However, Won'
derful Town is a play of action and doubtless
those who have seen it can add the action in their
imaginations to the music on the record and really
get a great kick out the present recording. For
those who have not seen the show we are rather
afraid that the recorded version will seem somewhat
lacking in appeal.

Seven Centuries of Sacred Music. Yves Tinayre
(tenor) with instrumental and choral ensemble.
2' 12" discs in album (*D'DX'120) $11.70.

A number of years ago Lumen in France issued
a set of records called “Seven Centuries of Sacred
Music.” This item has not been available on the
American market for many years and so this re'
issue by Decca is a very welcome one. We might
mention that Decca has done an excellent job in
transferring these 78 rpm recordings to these LP
discs and has added some selections that were not
in the original set.

The period covered by these recordings is the
12th to the 18th centuries both inclusive. Very in'
telligent notes are included in which each selection
is described and the words of the original text are
given with an English translation. These records,
with their copious notes, might very well be used
as an outline for a course of study of the sacred
music of this period. Much more might be written
about these unique recordings if space were available.
We hope that we have indicated their value suffi'
ciently to entice those interested to investigate this
unusual set of discs.

• Indicate* LP 83 ^ rpm.
indicate* 45 rpm.

H. ROYER SMITH COMPANY

PAGE 14

MAY

T he Records

1953

PIANO

Beethoven: (33) Variations on a Waltz by Dia-
belli, Op. 120. Three sides, and Beethoven: (15)
Variations in E-flat, Op. 35 (“Eroica”). Claudio
Arrau (piano). 2' 12" discs in album (*D'DX'
122) $11.70.

Beethoven: Sonata No. 29 in B-flat, Op. 106

(“Hammerklavier”). Wilhelm Backhaus (piano).
M2" disc (*L'LL'602) $5.95.

Few people would disagree that Claudio Arrau
is one of the half dozen most excellent living pianists
— and his current offering of these sets of variations
should certainly serve to further sustain that opinion.
His technical capabilities are wholly beyond adverse
criticism, and his musicianship is fundamentally
sound, being open to objection only in its slightest
details. Phonographically, he is the first pianist since
Schnabel to have projected successfully the scope
of the Diabelli Variations, referred to by Sir Donald
Francis Tovey as the greatest of all variations (and
that remarkably certain gentleman, neglecting Bach's
Goldberg Variations, if not quite accurate, miscalcu'
lated by only one figure). Arrau avoids the metro'
nomic type of pedantry which permeates the recent
Horszowski recording and conceives simultaneously
the fullest technical implications of the work with
the idee fixe of joy through despair which Beethoven
infused into his largest scores. The earlier Eroica
Variations are performed with the same excellence:
both, therefore, being done in a manner to which
we think Beethoven would have consented.

Backhaus ambles leisurely through the “Hammer'
Wavier” Sonata producing the effect that during the
recording he did not wish to be disturbed by the
piano. The aesthetic principles he employs, those of
the deepest German Romanticism, though finding
fulfilment in a consistent and well thought out per'
formance, are hopelessly unsuited to the music. C.
Franck: Prelude, Chorale and Fugue. One side, and
Franck: Prelude, Aria and Finale. Joerg Demus
(piano). M2" disc (*WEST'WL'5163) $5.95.
Franck: Prelude, Chorale and Fugue. One side, and
Chopin: Sonata No. 2 in B-flat minor, Op. 35.
Witold Malcuzynski (piano). M2" disc (*C'RD
3031) $3.08.

Of the two recordings of Franck's famous Pre'
lude, Chorale and Fugue, we prefer the Demus
version. Whether it is worth the considerable dif'
ference in price is something that each music lover
must decide for himself.

to, ^nd in memory of, the great Negro actor, Canada
Lee. It contains among other things the eulogy of
Oscar Hammerstein II which was delivered at his
funeral services. It also contains some readings by
Mr. Lee and a number of scenes from various plays
in which he was featured, including: T^ative Son ;
The Tempest; and Othello. These various recorded
excerpts are tied together with an appropriate com'
mentary by Don Morrow. This disc is for those
who would like to keep green in their memories a
great artist who has gone on to his reward.

Readings by Sterling Brown and Langston Hughes.

M2" disc (*FOLK'FP'90) $5.95.

CONTENTS: Brea\ of Day; Sharecropper; Slim
in Hell; Old Lem; Old King Cotton; Putting on Dog
(Brown). Feet Live Their Own Lives; Simple Prays
a Prayer; Wooing the Muse; Landladies (all from
“Simple Speaks his Mind”) (Hughes).

This LP disc contains some poems by Sterling
Brown, read by the author; and on the reverse side
Langston Hughes reads some interesting excerpts
from his book “Simple Speaks his Mind.” Those
interested in the work of these Negro writers will
find these selections very satisfactorily recorded.

MISCELLANEOUS

Caribbean Dances. Music of Martinique, Virgin
Islands, Guadeloupe, Trinidad, Antigua, Curacao
recorded by Walter and Lisa Lekis. M0" disc
(*FOLK'FP'840) $4.45.

Songs and Dances of Haiti. Recorded in Haiti by
Harold Courlander. M 2" disc (*FOLK'P'432)
$5.95.

Folk Music of Yugoslavia. Recorded in Yugoslavia
by Laura Boulton. M2" disc (*FOLK'P'434)
$5.95.

Black Caribs of Honduras. Recorded in Honduras
by Doris Stone. M2" disc (*FOLK'P'435) $5.95.

Folk Music of the Mediterranean. Music of Algeria,
Sardinia, Albania, Syria, France, Egypt, Morocco,
Italy, Tunis, Greece, Turkey, Spain, Serbia, Libya,
Palestine. 2' 12" discs in folder (*FOLK'P'501)
$11.90.

Music of the World’s Peoples (Vol. 2). Music of
Serbia, Iran, Albania, Congo, China, Finland,
French Canada, Ukraine, Chile, Italy, Kashmir,
Sioux, Jewish, Australia, Cuba, Azerbaijan. 2' 12"
discs in folder (*FOLK'P'505) $11.90.

DICTION

Readings and Dramatic Presentations. Canada Lee
(reading) with Don Morrow (narrator). M2"
disc (*LIONEL'PT'l/2) $5.95.

This disc was produced and issued as a tribute

African Tribal Music and Dances. Sonar Senghor
and his Troupe. M2" disc (*ESO'ES'513) $5.95.
Devotees of folk and ethnic music will welcome
the release of the six new issues of the Ethnic Folk'
ways Library listed above. Nicely illustrated booklets
accompany each set, fully explaining the music con'
tained thereon.

PAGE 15

“THE WORLD’S RECORD SHOP”

Indicate* LP 88 ^ mm
0 Indicates 45 rpm

MAY

The N ew Records

1953

Special note should be made of the African Tribal
Music disc, for, while this is evidently authentic
music, Sonar Senghor and his Troupe are primarily
entertainers who have toured extensively in Europe
and who will shortly make their U. S. debut. While
we generally take a dim view of “popularized" folk
music, we found this to be genuinely entertaining.
Note to hi-fi fans: this is a wide range recording
which may be used to demonstrate your equipment.
Aires Flamencos. Carlos Montoya (guitar). IT 2"
disc ( *MON TILL A-FM-LP- 10). $5.95.

In the April 1953 issue of The New Records
we reviewed a Flamencan disc entitled El Pili;
readers who were interested in that record w 7 ill surely
find the present disc of supreme fascination.

For the past ten years Montoya has been coming
to the United States every year for a transcontinental
concert tour. He has also appeared as soloist with
the Rochester Symphony Orchestra under Iturbi. He
is a master of his instrument, and with such a dearth
of good Flamenco music presently available, we have
no doubt that this disc will find a ready market —
especially in view of the superb reproduction.

1, 2, 3 and a Zing Zing Zing. Street Games and
Songs of the Children of New York City, recorded
and edited by Tony Schwartz. 1T0" disc (*FOLK-
FP-703) $4.45.

Probably the best way to indicate what this record
is all about is to quote Mr. Schwartz's introduction
to his notes that accompany this recording:

“T, 2, 3 and a Zing Zing Zing’ grew out of a
project I am working on, recording the folk expres-
sion of the community I live in. The material was
recorded in an area two blocks wide and twenty
blocks long, in West Midtown Manhattan, and is
meant to be a sampling of what one might hear
children doing in this community. These children
were recorded during the summer and fall of 1952
while they were on the streets, sidewalks, stoops,
playgrounds, basements, play centers, churches,
homes and schools."

Inside Vienna. Wiener Konzerschrammeln Ensemble.
1-10" disc (*SOT-1026) $4.

Those who know Vienna will recognize this music
as that which may be heard during the summer com-
ing from the gardens along the narrow streets of
that city's wine-growing suburbs. In these gardens
during the warm weather the Viennese love to spend
their evenings sipping their wine and listening to
this pleasant and tuneful music (Schrammelmusik).
This music is usually performed, as it is on this disc,
by a quartet of players whose instruments are:
two violins, a contra-guitar and an accordian. It has
been captured with rare fidelity on the present LP
disc.

BOOKS OF MUSICAL INTEREST

The World's Encyclopaedia of Recorded
Music. By Francis F. Clough and G. J.
Cuming. 890 pp. Sidgwick and Jackson,
Ltd. (London). Price $17.50.

The 7<[ew Catalogue of Historical Records
1 898*1 908/09. Compiled by Robert Bauer.
494 pp. Published in England. For sale in
U. S. A. by H. Royer Smith Co. (Philadeb
phia). Price $7.25.

The Gramophone Shop Encyclopedia of Re *
corded Music (Third Edition) . Robert H.
Reid, Supervising Editor, 639 pp. Crown
Publishers (New York). Price $2.95.

The Victor Boo\ of Operas. Revised and edited
by Louis Biancolli and Robert Bagar.
xxiv-[-596 pp. Illustrated. Simon and
Schuster (New York). Price $3.95.

Victor Boo\ of Concertos. By Abraham Veinus.
xxv + 450 pp. Simon and Schuster (New
York). Price $3.95.

Collectors' Guide to American Recordings
1895T925. By Julian Morton Moses.
Foreword by Giuseppe De Luca. 200 pp.
Published by the author. Price $3.75.

I Hear You Calling Me. By Lily McCormack.
201 pp. Illustrated. The Bruce Publishing
Co. (Milwaukee). Price $2.75.

Records: 19 SO Edition. By David Hall, ix -f-
524 4“ xx PP S - Alfred A. Knopf (New
York). Price $6.

NOTE: All the above books have been reviewed
in previous issues of The "Siew Records. If your local
dealer does not stock them, orders addressed to H.
Royer Smith Co., Philadelphia 7, Pa., will be promptly
filled. The prices quoted include postage to any point
within U.S.A.

The first letters In the record number Indicate the manufacturer: BG— Bach Guild, BL — Blbletone, C — Columbia, CE--€etra, CH— Concert
Hall Society, CL — Capitol, CSM — Colosseum, CRS— Collector’s Record Shop, D — Decca, DL — Dial, ESO — Esoteric, FEST— Festival,
FOLK— Ethnic Folkways Library, G I OA— Gregorian Institute of America, HS — Hadyn Society, L — London Gramophone, LYR— Lyrl-
chord, ME— Mercury, OC— Oceanic. OL— L’Olseau Lyre, PE— Period, PH M — Phllharmonla, PLM— Polymuslc, REN— Renaissance, SOT—
Sounds of Our Times, ST R— Stradivari, UR— Urania, V— Viator, VAN— Vanguard, VX— Vox, and WEST— Westminster.

Indicates LP 831^ rpm.
^ indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 16

J

The N ew Records

A BULLETIN FOR THOSE INTERESTED IN RECORDED MUSIC

Issued Monthly by

H. ROYER SMITH COMPANY

“The World’s Record Shop”

I OTH & WALNUT STREETS .... PHILADELPHIA 7, PA., U. S. A.

VOL 21, NO. 4 JUNE, 1953 B V mall to any addr«.

S EVERAL years ago WOR Feature Records
issued a set of records (78 rpm) with
which one might learn Spanish. The course
was prepared by Frank Henius and was called
“Quick Spanish Course.” Twelve lessons were
given on three 1 Chinch 78 rpm discs. These
discs were contained in a substantial album
with a 4 8 'page book containing twelve exercises
and twelve “Book Lessons.”

A sample of this course was sent us when it
was first published, but we did not review it
because we felt that, while one might learn
Spanish by means of this course, it would be
much too difficult for the average person —
especially a person who was not familiar with
learning languages. We do not recall the orig'
inal price of this course but we rather think
that is was in the neighborhood of $15.

Recently a number of these courses were
offered to the publishers of this bulletin at a
close-out price. We went over the course again
very carefully, and it occurred to us that this
course would be very useful to those high school
or college students who were studying Spanish.
It would be a marvelous help in improving their
pronunciation of Spanish words by hearing
them spoken on the records and also having
them phonetically spelled in the “Book Les'
sons.” It further occurred to us that this course
would be ideal for those who would like to
brush-up their Spanish — students who have had
some knowledge of the language but have for'
gotten much of it through lack of use of it.

With this in mind the publishers of this
bulletin bought these courses and are offering
them to its readers at the very low price of
$2.95. While we do not suggest that this course
will teach persons with no knowledge of the
language to speak Spanish, we do feel that it
is worth several times this low price to present
students of the language or to those who have
studied it previously and have forgotten much

that they once knew. Also those who are plan'
ning a trip to Spanish'speaking countries can
surely get enough from the course to aid them
considerably in their contacts with Spanish'
speaking natives. Those interested should place
their orders for the “Quick Spanish Course”
promptly. Price $2.95.

* *

The London Gramophone Corporation has
recently announced a 12 'inch LP “Frequency
Test Record.” This disc is to be used for check'
ing the frequency response of ones phono'
graph, and it fills a need of long standing.

The following constant tone frequencies are
contained on this new record: 15,000 cycles
per second; 14,000 cps; 13,000 cps; 12,000 cps;

11.000 cps; 10,000 cps; 9,000 cps; 8,000 cps;

7.000 cps; 6,000 cps; 5,000 cps; 4,000 cps;

3.000 cps; 2,000 cps; 1,000 cps; 500 cps; 250
cps; 125 cps; 60 cps; and 40 cps. These fre'
quencies are separated by bands, so that any
desired frequency may be selected at will. Both
sides of this disc are exactly the same, each
side containing the frequencies enumerated
above; we presume that the user is to mark the
side he starts with, and should he wear that
side excessively, he can still use the reverse side.

Instructions for using the record, plus the
sound levels (in decibels) for each frequency,
are given on the jacket containing this LP disc;
needless to say, the record may be used only
at 33J/3 rpm and only with a microgroove
(.001") stylus.

If your local dealer cannot supply this record,
orders addressed to the publishers of this bub
letin will be promptly filled. Record number
*L'LL'738; price $5.95.

* * *

It would seem that there is a not inconsider'
able interest in recordings of early music, and
to the uninitiated many of these items are dif-

JUNE

The NewRecords

ficult to find in ths various LP catalogs. With
this in mind, the publishers of The New
Records have prepared a list of outstanding
performances of works by composers who died
before 1750 (e.g., Buxtehude, Carissimi, Fres'
cobaldi, Josquin des Pres, Monteverdi, Pales'
trina, et al — but excluding J. S. Bach) .

We have tried to make the list as inclusive
as possible with the hope that it may be useful
in helping the lover of early music to select
additional records for his library. The list is
available on request; simply ask for the List
of Early Music Recordings and enclose a 3 c
stamp for return postage.

BACK COPIES

We are continually receiving requests for
back copies of The New Records. Most of
the issues published during the last twenty
years are available. The price is 10c each. A
file of all of the available issues (at least 140
copies) is $5. These prices are postpaid within
U.S.A.

NOTE: Those persons interested in recent
recordings only may secure all of the issues of
the last three years beginning June 1950 (36
copies) at the special price of $2 (postpaid
within U. S. A.) .

NEW LP RELEASES

Bach: Passacaglia and Fugue in C minor and Bach:
Concerto in A minor. One side, and Bach: (8)
Chorale'Preludes. Carl Weinrich (organ). M2"
disc (*MGM'E'3021) $4.85. (TNR Aug. ’52 &
May '52).

Gershwin: Porgy and Bess (excerpts). Lawrence
Winters, Camilla Williams, Inez Matthews, Avon
Long, June McMechen, Eddie Matthews and
Chorus and Orchestra — Engel. DIO" disc (*C'
AALT1) $2.85. (TNR Oct. '51).
CONTENTS: Summertime; A Woman Is a Some '
time Thing; My Man’s Gone Now; I Got Plenty o
Nuttin Bess, T ou Is My Woman; It Ain’t Neces '
sarily So; Bess, Oh W here s My Bess?; There s a
Boat Dat’s Leavin’ Soon for New Tor\.

Verdi: Aida (highlights). One side, and Gounod:
Faust (highlights). Soloists and Orchestra of the
New York City Opera Co. — Halasz. IT 2" disc
(*MGM'ET023) $4.85. (TNR June '51).

Weber: Der Freischutz (highlights). Soloists, Vienna
State Opera Chorus and Vienna Philharmonic Or'
chestra — Ackermann. IT 2" disc (*L'LL'646)
$5.95. (TNR Aug. '51).

Puccini: La Boheme (highlights). Soloists, Orches'
tra and Chorus of the Accademia di Santa Cecilia —
Erede. M2" disc (*L'LL'649) $5.95. (TNR
Feb. '52).

Puccini: M adama Butterfly (highlights). Soloists,
Orchestra and Chorus of the Accademia di Santa
Cecilia — Erede. IT 2" disc (*L'LL'650) $5.95.
(TNR Apr. '52).

OVERTURES ON RECORDS

Sullivan: The Mikado — Overture. One side, and
Sullivan: H. M. S. Pinafore — Overture. New
Symphony Orchestra conducted by Isidore God'
frey. 1T0" disc (*L'LD'9007) $2.95.

Weber: Jubel-Ouvertiire in E, Op. 59. One side,
and Weber: Peter Schmoll und sein Nachbarn —

Overture, Op. 8. Bamberg Symphony Orchestra
conducted by Ferdinand Leitner. 1T0" disc (*D'
DL'4054) $2.50.

Weber: Euryanthe — Overture. One side, and
Weber: Preciosa Overture and Weber: Abu
Hassan — Overture. Bamberg Symphony Orchestra
conducted by Ferdinand Leitner. 1T0" disc (*D'
DL'4057) $2.50.

Strauss: Die Fledermaus — Overture. One side, and
Strauss: Der Zigeunerbaron — Overture. RIAS
Symphony Orchestra conducted by Ferenc Fric'
say. 1' 10" disc (*D'DL'4052) $2.50.

Brahms: Academic Festival Overture, Op. 80 and
Brahms: Tragische Ouvertiire, Op. 81. One side,
Brahms: Variations on a Theme of Haydn, Op.

56a (“St. Antoni Chorale”). Concertgebouw Or'
chestra of Amsterdam conducted by Eduard van
Beinum. M2" disc (*L'LL'735) $5.95.

ORCHESTRA Uv>

Rimsky-Korsakov: Scheherazade. Philharmonia Or'
chestra conducted by Leopold Stokowski. 4' 7"
discs in box (0AVDMT732) $5.14. M2" disc
(*V'LMT732) $5.72.

Scheherazade is a pictorial canvas that has a
definite story and program, and no tone'poem has
been subjected to more varied interpretations than
this good old war horse. Besides being a field day
for the conductor's imagination, it is also a marvelous
exhibition piece for the virtuosity of a symphony
orchestra. It goes without saying that Leopold StO'
kowski takes advantage of every opportunity to
apply a striking interpretation to this music. It is
one of the pieces which he has been known for many
years to play in a sensational way; his old Philadeb
phia Orchestra set was cherished by many. This time
he uses the renowned Philharmonia Orchestra of
London, and is accorded reproduction of a sort that
is new in English circles. Recorded in Kingsway
Hall, it is a magnificent job mechanically, plenty of
resonance, no blurring, and fine perspective and very
faithful timbre. The loud passages emerge with ex'

• Indicate* L»P * 3*4 rpm.
0 Indicate* 45 rpm.

H. ROYER SMITH COMPANY

PAGE 2

JUNE

J

like New R ecords

1953

ceptional clarity.

Our favorite recording for quite some time has
been Ormandy and the Philadelphia Orchestra (*0
ML'4089), and we do not intend to part with this
disc. Between Ormandy and Stokowski there is in'
deed a world of difference. There are many sections
which are totally different; different tempi, different
lines brought out, a completely different approach.
Generally speaking, Ormandy outplays Stokowski in
the first movement. In the third movement, Stokowski
achieves gossamer effects and a sensuous atmosphere,
where Ormandy keeps things moving and uses larger
masses of tone to depict the Young Prince and

Young Princess. It is in the second and fourth

movements that Stokowski dramatizes the music with
a flair that must be heard to be believed. His con'

ception of the stormy sea and the shipwreck is a

masterpiece bordering on sound'effects rather than
music.

If you take the time to compare Ormandy and
Stokowski you will be amazed at how two conduc'
tors can arrive at two such entirely different results
in the same score. Another recent Scheherazade by
Dorati and the Minneapolis Orchestra (*ME'MG'
50009) is well played and very well recorded, but is
in the lightweight division compared to Ormandy and
Stokowski. Monteux and Ansermet do not excite
as do these other two, and the others who have
LP discs are still further down the list. S.

Sibelius: Lemminkainen Suite. Philadelphia Orches'
tra conducted by Eugene Ormandy. 1 ' 1 2" disc
(*C'ML'4672) $5.45.

Sibelius: En Saga, Op. 9. One side, and Sibelius:
Tapiola, Op. 112. Concertgebouw Orchestra of
Amsterdam conducted by Eduard van Beinum.
M2" disc (*L'LL'737) $5.95.

Most persons by now have heard the beautiful
tone'poem The Swan of Tuonela, which the Phila'
delphia Orchestra, among many others, has com'
mitted to records several times, and some have heard
Lemmin\ainen’s Homecoming, also recorded several
times. But the premiere of the complete work known
as the Lemmin\ainen Suite was given during the
past year by Ormandy on the composer’s 86th
birthday, and Columbia has lost no time in offering
a recording of it which presents the two sections
previously unheard. These sections are titled Lem '
min\ainen and the Maidens of Saari and Lemmin'
\dinen in Tuonela; they appear as the first and third
sections, Swan is second and Homecoming is the
fourth. The music was inspired by episodes of the
Kalevala, a collection of Finnish legends. Sibelius’
first idea had been to fashion an opera from these
stories, but the opera project was abandoned and
the four tone'poems were presented as such in 1896.
Lemminkainen is pronounced LEM'men'ki'EEN'nen,
in case you are baffled by this odd name.

Ormandy and the Philadelphians plays this music
with surpassing beauty. Ormandy has seen fit not
to overplay it; the playing is relaxed and serene, with

a great deal of atmosphere and mood that seem most
appropriate and descriptive. The two unfamiliar sec'
tions are interesting and characteristic, and with
repeated hearings they might prove as palatable as
Sibelius' more familiar scores. The reproduction is
excellent.

Eduard van Beinum and the admirable Concert'
gebouw play a pair of Sibelius’ works which make
an ideal LP coupling. En Saga, an early work, em'
ploys much material from an Octet for clarinet, flute
and strings; it has no story although there is a
nationalistic feeling about it. Tapiola, written in
1925 on a commission from Walter Damrosch, is
one of the composer’s greatest scores, a mature ex'
pression of the deep poetic vision which first became
evident in En Saga. Van Beinum does nobly with
both pieces, even matching Beecham’s LP of Tapiola.
The Dutch conductor is in no hurry with this music
and achieves some fine effects, all within a musicianly
framework. The reproduction is good, rather thick
in texture and with nice string tone. S.

Rachmaninoff: Symphony No. 3 in A minor, Op.

44. Bolshoi Symphony Orchestra conducted by

Nicholas Golovanov. M 2" disc (*RACHMANL
NOFF SOCIETY RS'7) $5.95.

Rachmaninoff composed the Third Symphony
nearly thirty years after the Second, during his last,
most soul'searching period. He had vowed the Sec'
ond would be his last, but the composition of the
Third is most easily explainable by the type of work
it is. There is a completely different approach and
style in the Third. It is clearly an effort at expand'
ing his own horizons, and Rachmaninoff must be con'
sidered ambitious and progressive in his desire to
write this symphony. Where the popular Second
wallows around in typical romantic fields of com'
position, the Third is a more complex, enigmatic
work, which has fewer formal and classical lines,
and which is generally a really ambitious, and for
Rachmaninoff, experimental work.

When Stokowski and the Philadelphia Orchestra
premiered the work in November 1936, the press
was rather cool. If one knows the Philadelphia press
in matters of musical criticism as we do, one would
understand that; for our largest paper has had
something less than a charitable attitude toward
anything newer than Wagner, unless the newer work
is completely conventional. Whether the unfavorable
press militated against the popularity which this work
might have enjoyed or whether it was not destined
to capture the fancies of the American public is
something we hate to try to explain, because in
Russia the Third has become the most frequently per'
formed of Rachmaninoff’s purely orchestral works.

Nicholas Golovanov has been prominent as a con'
ductor in Russia for the paft twenty'five years. His
performances of Rachmaninoff’s music, and in par'
ticular his championing of the Third Symphony,
have contributed much to its acceptance there. His
belief in the work and experience with it are obvious

PAGE 3

‘THE WORLD'S RECORD SHOP'*

Indicate LP rpm.
0 indicate* 46 rpm.

JUNE

r \he Nw Records

1953

at once, for this is a magnificent performance which
communicates enthusiasm in no uncertain terms.
The reproduction is good, if not of today s best, in
this first LP edition of the work. S.

Bartok: Dance Suite. One side, and Bartok: (2)
Portraits. New Symphony Orchestra conducted
by Franco Autori, with Jean Pougnet (violin).
M2" disc (*BARTOK'BRS'304) $5.95.

Bartok: Dance Suite. One side, and Kodaly: Dances
from Galanta. London Philharmonic Orchestra
conducted by Georg Solti. LI 2" disc (*L'LL'709)
$5.95.

Bartok’s Dance Suite, written for the fiftieth anni'
versary of the merger of Buda and Pest, is not one
of his greatest compositions. (His truely great
achievements were almost always in chamber music.
The case is not that he was incapable of thinking
greatly on a large scale, but that, like composers be'
fore the auditory obesity set in, he found the more
restrained and economical media most suitable.) The
work is, nevertheless, a well constructed suite on
authentic Hungarian themes and finds an essentially
perfect performance in Autori’s hands. Under Solti's
oppressive touch, however, there is only preposterous
bombast.

The “Two Portraits" side of Autori’s disc, too,
is well executed, the first part being one of Bartok’s
most successful early works and in parts reminiscent
of the unique opening fugue of Beethoven’s C'sharp
minor Quartet.

Solti’s production of the Dances of Galanta lacks
the taste and proportion of De Sabata’s version
(*D'DL'9518).

Gould: Latin- American Symphonette. One side,
and Barber: Overture to "The School for Scan-
dal,” Op. 5 and Barber: Adagio for Strings

(from “String Quartet, Op. 11"). And Barber:
Essay for Orchestra No. 1, Op. 12. Eastman'
Rochester Symphony Orchestra conducted by
Howard Hanson, l'l 2" disc (*ME'MG'40002)
$5.45.

This interesting disc contains the works of two
American composers of about the same age. Samuel
Barber was born in 1910 and Morton Gould in
1913. Gould, despite his thorough classical musical
training, has specialised in the more popular idiom
of the musical theatre of the present day. His Latin'
American Symphonette in four movements is based
on four dance rhythms from south of the border.
It is largely percussive in character and should ap'
peal to those who enjoy ballet music with a Latin'
American tang. . . . Barber’s Overture to The School
for Scandal was his “graduation thesis” from Cur'
tis Institute in 1932. It has met with great success
and has appeared quite often on programs of im'
portant symphony orchestras. His Adagio for Strings
was originally a movement from a string quartet,
and in its present form for full string orchestra it
was first performed by Toscanini and the NBC

Symphony during a broadcast in 1938. On this
same program was Barber’s Essay for Orchestra No.
1, Op. 12, which is also included on the present
disc. Both of these latter pieces have caught on
very well with symphony orchestra audiences, and
whenever they appear on programs they are greeted
with much enthusiasm. Previous recordings of them
have enjoyed quite large sales. At the hands of
Howard Hanson, who is most sympathetic to modern
American music, the works of these two composers
has been performed most felicitously. We feel that
Messrs. Barber and Gould should be very happy to
have had Mr. Hanson record their works. Mercury
has supplied superb reproduction.

R. Strauss: An Apline Symphony, Op. 64. Munich
State Opera Orchestra conducted by Franz Korn
witschny. L12" disc (*UR'URLP'7064) $5.95.

R. Strauss: Ein Heldenleben, Op. 40. Vienna Phil'
harmonic Orchestra conducted by Clemens Krauss.
LI 2" disc (*L'LL'659) $5.95.

R. Strauss: Don Juan, Op. 20. One side, and
R. Strauss: Tod und Verklarung, Op. 24. Phil'
harmonic'Symphony Orchestra of New York con'
ducted by Bruno Walter. LI 2" disc (*C'ML'
4650) $5.45.

Of particular interest is An Alpine Symphony,
Op. 64 — this is the first time that this work has
appeared in a domestic catalog. The reason for this

is, we understand, that there are certainly copyright
restrictions on this particular Strauss opus that, up
until this time, have made it impractical for domestic
publishers to issue recordings of it. We note that
the present disc carries a special label stating that
public performances and broadcasts of this recording
are strictly prohibited. An Alpine Symphony, a
descriptive work in one movement, is certainly one
of Strauss’ lesser compositions and has never proved
popular with American audiences; however, a cob
lection of Strauss recordings is not complete without

it, and as the present recording is an excellent one
it fills a long vacant stop in the repertory of recorded
music. . . . The other three Strauss works are ah
ready well represented in the present LP catalog.
The famous Mengelberg recording of Ein Helden'
lehen probably heads the list of recordings of that
outstanding tone poem. As for Don Juan and Tod
und Ver\larung we would say that the present
Walter versions rate with the best of the available
recordings of these well'known Strauss works. We
suggest that you listen to Furtwangler’s performance
of Tod und Ver\larung and Toscanini's Don Juan
before you make your choice.

Corelli: (12) Concerti Grossi, Op. 6 (complete).
Corelli Tri'Centenary String Orchestra conducted
by Dean Eckertsen. 3'12" discs in album (*VX'
PL'7893) $17.85.

The idea of recording completely the Concerti
Grossi, Op. 6, of Corelli, his masterpiece, was an

* Indicate* LP 38 rpm.
$ indicate* 45 rpm.

H. ROYER SMITH COMPANY

PAGE 4

JUNE j

The New Records 1953

excellent one. It is therefore unfortunate that the
Corelli Tricentenary String Orchestra could not
have presented a more faithful and authentic per'
formance. Their playing is mechanical and unyield'
ing. One need only compare their version of the
Christmas Concerto with that of the Virtuosi di
Roma (*D'DL'9649) to realize that the Tri'Cem
tenary’s brilliant technical achievement does enor'
mously less for the music than the understanding,
flexible playing of the latter group.

Respighi: The Pines of Rome. One side, and
Respighi: The Fountains of Rome. Minneapolis
Symphony Orchestra conducted by Antal Dorati.
1 ' 1 2" disc (*ME'MG'50011) $5.9?.

The tremendous activity of the various recording
companies, both major and minor, necessarily gives
rise to duplications. Very often the duplication is
exasperating (as in the case of one or more poor
recordings or performances of the same piece); but
at times the duplication can be uncommonly instruc'
tive.

Such is the case with the present recording by
Mercury of Respighi's two best known tone poems.
A few months ago Westminster released this same
coupling, using their “new" recording technique.
This reviewer wrote, at that time (TNR March '53),
that “this is an astonishing record. . . . the finest
yet made." Strong words, as one looks back on
them but, strangely enough, the new Mercury record'
ing merits the same adjectives. It is also astonishing,
particularly so in view of the excellence of the
Westminster. Both are superb, if different, examples
of the recording art. Each ranks as one of the best
engineering jobs yet released.

Differences there are, however, and it may well be
that each disc will have its adherents. Mercury's
single microphone technique gives a balance that is
very listenable — Westminster's sound is more lush,
possibly more exciting. One is moving here in the
very narrow realm of personal taste and must fall
back on the cliche — if this is what you like, you’ll
like this.

The performances are equally good; the points of
difference lie in the conductors’ approaches to the
score. Quadri on the Westminster, being an Italian,
has a more sentimental angle, while Dorati is more
straightforward; both are acceptable, and each has
merit.

As the reader will have gathered by this time, it
is virtually impossible to say which disc is better —
both are superior from every consideration. W.

Gliere: Symphony No. 3 in B minor, Op. 42

(“Ilya Mourometz") (complete). Three sides, and
Gliere: The Red Poppy (Ballet Suite). Vienna
State Opera Orchestra conducted by Hermann
Scherchen. 2'12" discs in album (*WEST'WAL'
210) $11.90.

Anyone familiar with this work has, in all
probability, made his acquaintance through the StO'

kowski'Philadelphia Orchestra recording of some
years ago, now reissued in the Treasury Series (*V'
LCT'1106). At the end of the program notes of
that set we find this sentence: “It remains in con'
elusion to note that Mr. Stokowski has deemed it
necessary to abridge several passages in this prodi'
giously long work." We would call that a generous
understatement. After hearing the complete Scher'
chen performance, Stokowski's could not rightfully
be considered a mere abridgement; it is in fact, cut to
ribbons. No one can deny Stokowski’s version is ef'
fective; it has many moments of more dramatic
appeal, breathtaking beauty, and general theatrical
effectiveness than Scherchen’s reading. That was part
of the magic of Stokowski and his Philadelphia
Orchestra. But for an honest statement of the values
in the score of Ilya Mourometz as Gliere wrote it,
we must turn to Scherchen. Ilya is a large, sprawling
canvas, rather loosely connected in spots, and relying
heavily on its program to hold it together. But the
composer’s conception was a large one, and he
achieves an impressive picture. Scherchen is a valiant
champion for the work; the orchestra plays valiantly
also, which is not to say absolutely perfectly, but
with zeal. And Westminster has lavished reproduc'
tion of imposing dimensions on this large scale music,
resulting in a most impressive recording, up to West'
minster's best standards. Thus the Stokowski disc
is clearly out of the running, for its age would pre'
vent it from even coming close to this new job in
the matter of reproduction.

The Red Poppy Ballet Suite is given a splendid
performance by Scherchen and his forces, who offer
the six sections with a neatness and precision that
make it a worthy coupling in this album. S.

Masterpieces from the Theatre. New Orchestral

Society of Boston conducted by Willis Page. 1'10"

disc (*SOT'2064) $4.80.

CONTENTS: Carmen — Introduction to Act I;
La Cazza Ladra — Overture; Midsummer Right’s
Dream — Scherzo ; Euryanthe — Overture.

Masterpieces of the Dance. New Orchestral Society

of Boston conducted by Willis Page. 1 ' 1 0" disc
(*SOT'2066) $4.80.

CONTENTS: Emperor Waltz; Danse Macabre;
Hungarian Dance No. 6; Dance of the Buffoons.

When one opens the jackets of the new Cook
Laboratories Sounds Of Our Times records one will
find two unique things: first, that the record is com'
pletely sealed in a semitransparent plastic case,
which means that the purchaser will be the first to
touch or play it after it leaves the factory; second,
a certificate, signed by the manufacturer, stating that
the dynamic range of the record is “exactly as played
by the artists," that “no chaiige in volume to com'
press or expand was made during the entire recording
session," and that the frequency range of the record'
ing apparatus used is “within 2 db from 20 cps to
25,000 cps." These discs have such wide response,

PAGE 5

"THE WORLD’S RECORD SHOP”

Indicates LP 88 rpm.
0 Indicates 45 rpm.

JUNE

T he R ecords

1953

such incredible dynamic range, and such startling
overall reproduction that now and for some time to
come these records will probably be considered the
ultimate for high fidelity demonstration. C.

Haydn: Symphony No. 45 in F-sharp minor

(“Farewell”). One side, and Haydn: Symphony
No. 7 in C (“Le Midi”). Philadelphia Orchestra
conducted by Eugene Ormandy. 1-12" disc (*C-
ML-4673) $5.45.

As we check the LP catalogs we find that Ormandy
has not too much competition among the available
recordings of these two Haydn symphonies, and
with one of the world's greatest orchestras at his
command it is not too difficult to come out in the
lead. This he does handily, and thus those who are
interested in these charming works are recommended
to choose the present recorded versions.

Overtures to Famous Zarzuelas. Orquesta de Camara
(Madrid) conducted by Ataulfo Argenta. IT 2"
disc in album (*MONTILLA FM-LP-6) $5.95.
CONTENTS: Overtures to La Tore del Oro, El
Tambor de Granaderos, El Baile de Luis Alonso,
La Boda de Luis Alonso, La Revoltosa, Goyescas,
La Picara Molinera, La Jota de la Dolores.

Zarzuelas are musical plays — an unique product
of the lyric theatre of Spain. The present LP disc
is probably intended for persons of Spanish origin
or for those who at least read the language because
the booklet which describes the various zarzuelas is
printed in Spanish. The publishers very likely felt
that others would not be interested in the overtures
to these works. However, as the music is for the
most part quite light and tuneful, it is just possible
that music lovers who have never even heard of a
zarzuela before may find this disc quite fascinating.
The reproduction is excellent and the record surfaces
as smooth as glass.

Italian Baroque Music. Societa Corelli, with Luisa
Ribacchi (mezzo-soprano) . 4-7" discs in box

(0V-WDM-1767) $5.14. M2" disc (*V-LM-
1767) $5.72.

CONTENTS: Concerto in A minor (Vivaldi);
Cessate omai (Vivaldi); Sinfonia No. 2 in G (Vi-
valdi); Concerto Grosso in F, Op. 1, K[o. 4 (Mar-
cello); Giudizio Universale — Suonera l'ultima tromba
(Carissimi); Concerto Grosso in E minor, Op. 3,
No. 3 (Geminiani).

Here is an unusual record of great beauty. It
will introduce to many American music lovers the
Societa Corelli, a group of seventeen talented young
chamber musicians who, after great success in their
native Rome, crossed the Atlantic early in the present
year for a tour of the United States and Canada.
On this tour they were accompanied by the brilliant
young Italian mezzo-soprano, Luisa Ribacchi. The
Societa Corelli specializes in early Italian music,
and the present disc contains some truly beautiful
17th and 18th century music from that land of

melody. Four of the selections are purely instrumen-
tal and the two others, the Vivaldi Cessate omai
and the Carissimi aria from Giudizio Universale, are
for mezzo-soprano and strings. In these two latter
pieces Miss Ribacchi is featured.

We hope that our readers will not pass this disc
by on the grounds that the music is unfamiliar to
them. One does not have to be a profound student
to appreciate and enjoy the selections on this unique
disc. It is the sort of music that anyone with a
reasonably cultivated taste for the better things
in the realm of melody may find very much to his
liking.

Cherubini: Symphony in D. One side, and Beetho-
ven: Septet in E-flat, Op. 20. NBC Symphony
Orchestra conducted by Arturo Toscanini. 4-7"
discs in box (0V-WDMT745) $5.14. 1-12" disc
(*V-LM-1745) $5.72.

This attractive LP disc contains two selections
that might easily be called “serenades” by two
contemporary composers (Cherubini was born ten
years before Beethoven and survived him by fifteen
years). Here is music abounding in refined melodies —
music to be enjoyed. Toscanini presents it with the
delicate touch that it requires. We predict that this
disc will have a wide and continued popularity.

Strauss: Emperor Waltz. One side, and Strauss:
Artist’s Life Waltz. Vienna Philharmonic Orches-
tra conducted by Herbert von Karajan. 1-10" disc
(*C-AAL-28) $2.85.

An inexpensive little LP disc containing two of
Strauss' most popular waltzes nicely played by the
famous Vienna Philharmonic Orchestra. The sur-
faces of the sample disc sent us were rather noisy —
better check for this.

Lalo: Concerto in D minor for Violoncello and
Orchestra. Bernard Michelin (violoncello) with
the Haarlem Symphony Orchestra conducted by
Toon Verheij. One and one-half sides, and
Faure: Elegie for Violoncello and Orchestra,
Op. 24. Bernard Michelin (violoncello) with the
Utrecht Symphony Orchestra conducted by Paul
Hupperts. 1-12" disc (*CH-CHS-1 162) $5.95.

Lalo: Concerto in F, Op. 20. One and one-half
sides, and Schubert: Rondo in A. Miriam Solo-
vieff (violin) with the Orchestra of the Vienna
State Opera conducted by Henry Swoboda. 1-12"
disc (*CH-CHS-1 143) $5.95.

Lalo's ’ Cello Concerto is one of the more frequent-
ly performed works for this noble instrument, yet
this is its first major LP recording; only one other
disc is listed in the catalogs. Considering the fine
work Bernard Michelin does, it is a pity the record-
ing cannot be given full approval. Michelin is a
young French 'cellist heard for the first time on

• Indicates LP 88 rpm.
^ indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 6

JUNE

The N^ze; R ecords 1953

American records with this release. He is typical of
the famous French school of 'cello virtuosity and
combines a smooth and beautiful tone with technical
mastery and great expressiveness. The main draw'
back to this disc is the orchestral accompaniment,
which for several reasons did not ring true to us.
We doubt that the Haarlem Orchestra is too good
an outfit; their tone is coarse and their precision
hardly precise. Some of this tonal quality may be
due to the quality of reproduction, which is also
not in the best balance between solo instrument and
orchestra. However, we found the recorded quality
of the 'cello beautiful, very faithful and at a correct
dynamic level. Those who desire a recording of this
work may not find the orchestra unsatisfactory, in
which case this disc will be eminently satisfactory
as far as the solo artist and the way he is recorded
is concerned. The second side filler, the Faure Elegie,
is also played beautifully; orchestra and recording
are good.

Miriam Solovieff is one of the great woman
violinists and a fine artist among all violinists now
concertizmg. We are indebted to her for bringing
the first LP recording of the Lalo Concerto in F
minor to us and for doing it so splendidly. Her
tone is one of purity and moderate size, never harsh,
and her technique is masterly. The Lalo concerto
is pleasant listening, rather a minor work compared
to Beethoven, Brahms, and the other titans, but
nevertheless worth a frequent hearing. Miss Solo'
viefFs lovely performance has the benefit of a first
rate accompaniment directed by Swoboda and
brilliant reproduction, a trifle on the thin side, but
not too wiry in sound. The second side filler is a
superb bit of violin writing by Schubert which
happens to be not in rondo form; it is an Adagio
and an Allegro giusto, expertly played by Miss
Solovieff. S.

Mozart: (3) Concert!, K. 107. Artur Balsam (piano)
with the Winterthur Symphony Orchestra con'
ducted by Otto Ackerman. M2" disc (*CH'CHS'
1164) $5.95.

Mozart: Concerto No. 3 in D, K. 40. One side, and
Mozart: Concerto No. 4 in G, K. 41. Artur
Balsam (piano) with the Winterthur Symphony
Orchestra conducted by Otto Ackermann. l'l 2"
disc (*CH'CHST 163) $5.95.

Mozart: Concerto No. 22 in E-flat, K. 482. One
and one'half sides, and Mozart: Rondo in D,
K. 382. Lili Kraus (piano) with the Vienna
Symphony Orchestra conducted by Rudolf Moralt.
M2" disc (*VX'PL'7290) $5.95.

The Three Concerti for Piano and Strings after

J. C. Bach, which is the formal catalog title of

K. 107, were written by the nine'year'old Mozart
after spending many happy hours with Johann
Christian Bach in England. J. C. Bach was a dominat'
ing force in the teaching of young Mozart, and the
tribute paid his mentor by Mozart is doubly remark'

able in that these concerti “after" Bach's sonatas
emerged with a stamp of individuality unmistakably
Mozart. They are, by comparison with the later
concerti, with which we are all more familiar, slight
and small'scaled exercises in the art. Mozart fanciers
will have much to enjoy and talk about with these
recordings, all fitted nicely on one LP.

The Concerti T^os. 3 and 4 were also re'write
jobs for the young Mozart, whose father kept him
busy with assignments calculated to sharpen his con'
siderable aptitude for formalistic purity. The basic
materials for these were drawn from miscellaneous
works by such figures as J. C. and C. P. E. Bach,
Johann Schobert, Hermann Raupach, Eckardt and
Honauer. Once again Mozart, eleven years old when
he finished this pair, took some material and gave
it such a refinement and distinction of his own that
it could rightly be considered his own. Artur Balsam
has been gradually filling in the gaps in the recorded
Mozart concerti by doing the earliest works. These
additions to the catalog attest to his superior musi'
cianship with performances of admirable style and
proper scale. The rising young conductor, Otto
Ackermann, a permanent conductor of the Vienna
State Opera, supplies appropriate frameworks for
these readings.

With the Concerto J^o. 22 we come to a mature
period of the master's life and one of his great
works in this form. Two other versions exist on
LP, but neither eclipses this lovely performance by
Lili Kraus. It is delightfully played and accompanied;
the reproduction is clear and bright. S.

Glazounov: Concerto in A minor, Op. 82. David
Oistrakh (violin) with the State Orchestra of
the USSR conducted by Kiril Kondrashin. One
side, and Kabalevsky: Concerto for Violoncello
and Orchestra, Op. 49. Daniel Shafran (violon'
cello) with the State Orchestra of the USSR
conducted by Dmitri Kabalevsky. IT 2" disc
(*VAN'VRS'6005) $5.95.

Khachaturian: Concerto for Piano and Orchestra.
Moura Lympany (piano) with the London PhiL
harmonic Orchestra conducted by Anatole Fis'
toulari. M2" disc (*L'LL'692) $5.95.

The Glazounov Violin Concerto does not appear
with any too great frequency on records, nor for
that matter in the concert hall. Milstein has an
LP of it in the catalog (*V'LMT064), and it is
a fine performance. The concerto is an enjoyable
work in three movements, though not of formal
design. The first movement states two themes and
gives them an exposition but no development. After
the slow middle movement, the finale returns to
the opening themes and gives them quite a develop'
ment culminating in a set of variations employing
much brilliant writing for tj^e violin. David Oistrakh
plays the work with eclat as well as poise and solid
musicianship. He is recognized as one of the finest
violinists alive, and this performance is but another
testimonial to his truly great art. The accompaniment

PAGE 7

"THE WORLD'S RECORD SHOP"

• Indicates LP 88 n>m.
0 indicates 45 mm.

JUNE

The N lew Records

1953

and reproduction are good, making this a fine record'
ing. We would give it preference to the Milstein
disc mainly for the coupling, which introduces a
twenty-nine-year-old 'cellist, Daniel Shafran. This
young man is a virtuoso, and has all the qualities
which are associated with the best virtuosos. His
rendition of the Kabalevsky 'cello concerto, the first
on LP, is an impressive piece of work. The concerto
is considered one of Kabalevsky's best works. While
its themes and construction and workmanship are
good, even better is the fact that it suits the solo
instrument so beautifully. There is ample opportu-
nity for a singing tone which one loves to hear from
a ’cello.

If the 'cello concerto is considered a good work,
the piano concerto is still controversial. Some folks
consider it banal, boring, second-rate music. We
have always found it entertaining and enjoy hearing
it a few times each year. It may not be another
“Emperor," but it holds interest in its own brash
way. Miss Lympany’s recording on Decca 78 rpm
discs was hailed by most of us as something terrific
until Kapell and Levant made their recordings. The
present set still does not dislodge the Levant-Mitro-
poulos recording (*C-ML-4288) from top place in
our opinion. The brittle, percussive bite and fiery
rendition which they turned out suits this work
perfectly and will be hard to better. S.

Brahms: Concerto No. 1 in D minor, Op. 15.

Friedrich Wuhrer (piano) with Vienna State
Philharmonia conducted by Hans Swarowsky.
M2" disc (*VX-PL-8000) $5.95.

Previously in these pages we have praised Hans
Swarowsky for having given a model performance
of some of the works of Haydn and Mozart. His
conducting of the Brahms First Piano Concerto,
however, is not so excellent as that on the Haydn-
Mozart disc, though still an unusual and, in its
way, a meritorious performance. It is surely more
confident and successful than the Serkin-Reiner
recording, and is, in itself, an interesting presenta-
tion of a Wagnerian interpretation of Brahms. The
tempi throughout are slow but highly controlled in
their consistency. The balance between piano and
orchestra is a fine and subtley delineated one.

Wuhrer and Swarowsky move more slowly and
assuredly through the labyrinthine work producing
more of a sensitively wrought fantasy than a youth-
ful, somewhat belligerent Concerto. Their perform-
ance, withal, is the finest available; for those who
prefer a smooth and relaxed rather than a dramatic
reading it should assume great appeal. C.

CHAMBER MUSIC

Franck: String Quartet. WQXR Quartet: Harry
Glickman and Hugo Fiorato (violins); Jack Braun-
stein (viola); Harvey Shapiro (violoncello). 1-12"
disc (*PLM-PRLP-1010) $5.95.

We are delighted to welcome this splendid record-

ing of Franck’s string quartet. It is the first and
only recording of this important work on LP discs.
In fact, it is the first recording of it that has ap-
peared in many years; for what reason we do not
know. It would seem to us that it is the outstanding
string quartet in the whole category of French
chamber music. True, it is a difficult work and re-
quires players who are in just the proper mood;
but it would seem that such players could have
been found long ere this. However, the selection of
the WQXR Quartet was indeed a happy choice,
and we are glad to recommend this recorded version
even to the most discerning music lovers. The repro-
duction is of the best, and the record surfaces
smooth and quiet.

Beethoven: Quartet No. 7 in F, Op. 59, No. 1.

New Italian Quartet. 1-12" disc (*L-LL-673)
$5.95.

Beethoven: Quartet in C-sharp minor, Op. 131.

Barylli Quartet. 1-12" disc (*WEST-WL-5144)
$5.95.

Beethoven: Quartet No. 12 in E-flat, Op. 127.

Pascal String Quartet. 1-12" disc (*CH-CHS-

1209) $5.95.

Beethoven: Quartet No. 13 in B-flat, Op. 130.

Pascal String Quartet. 1-12" disc (*CH-CHS-

1210) $5.95.

Beethoven: Quartet in E-flat, Op. 74. Pascal String
Quartet. 1-12" disc (*CH-CHS-1208) $5.95.

Beethoven: Quartet No. 1 in F, Op. 18, No. 1.
One side, and Beethoven: Quartet No. 2 in G,
Op. 18, No. 2. Paganini Quartet. 4-7" discs in
box (0V-WDM-1729) $5.14. 1-12" disc (*V-
LM-1729) $5.72.

Beethoven: (3) Piano Quartets, Op. 152. Artur

Balsam (piano) with members of the Pascal String
Quartet. 1-12" disc (*CH-CHS-1215) $5.95.
CONTENTS: Quartet No. 1 in E'flat; Quartet
No. 2 in D; Quartet No. 3 in C.

Beethoven: Trio in G, Op. 9, No. 1 . One side,
and Beethoven: Trio in D, Op. 9, No. 2. Bel

Arte Trio. 1-12" disc (*D-DL-9635) $5.85.

Beethoven: Quintet in C, Op. 29. Pascal String
Quartet with Walter Gerhard (viola). 1-12" disc
(*CH-CHS-1214) $5.95.

This month another large batch of Beethoven
chamber music recordings arrived at the studio.
Practically all of the selections on these discs are
well-known and have been recorded numerous
times. However, there is one disc of special impor-
tance. It is Concert Hall record (*CH-CHS-1215).
It contains the three piano quartets of Opus 152.
We do not recall all three of these little works
having been recorded previously. No. 1 in E flat
major was recorded a number of years ago on 78
rpm discs by E. Robert Schmitz and Members of

• Indicates LP 88 rpm.
0 Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 8

JUNE

T he Nm Records

1953

the Roth Quartet but we find no recordings of
Ho. 2 in D major nor 7s [o. 3 in C major listed
anywhere.

These three works are of prime importance to
collectors of Beethoven recordings because they are
among his earliest efforts in composition. They date
from 1785 and were written when the composer
was but fifteen years of age. They were, however,
not published until after Beethoven’s death. It
appears that the great master did not think them of
much merit although he used parts of them in his
later compositions. The remarkable thing about
them is that up until that time no one had written
for this combination of instruments (piano, violin,
viola and violoncello). It is true that Mozart was
experimenting with works in this form at about
this time but as he was in Vienna and Beethoven
was in Bonn it is not likely that either knew what
the other was doing. Mozart produced his two
Piano Quartets in the winter of 1785'86, shortly
after Beethoven had written his. While they are
not of great musical importance, they certainly
indicate that the young Beethoven was an innovator,
and that from the very beginning of his career
he was a leader, not a follower.

Haydn: (6) Quartets, Op. 20 (“The Sun Quar*
tets'') (complete). Schneider Quartet. 3' 12" discs
in box (*HS'HSQdF) $18.50.

*HS'HSQT6: Quartet Ho. 1 in E'flat and Quar'
tet Ho. 2 in C. $5.95.

*HS'HSQ'17: Quartet Ho. 3 in G minor and
Quartet Ho. 4 in D. $5.95.

*HS'HSQT8: Quartet Ho. 5 in F minor and
Quartet Ho. 6 in A. $5.95.

Haydn: Die sieben Worte des Erloesers am Kreuze,

Op. 51. Schneider Quartet. IT 2" disc (*HS'
HSQ'39) $5.95.

The Haydn Society continues with its project of
recording all of the Haydn string quartets and we
are glad to announce that the six quartets that make
up Opus 20 and The Seven Last Words of the Savior
on the Cross, Op. 51 are now available. The six
quartets may be purchased as a unit in an attractive
box or separately as indicted in the heading. We are
happy to report that the present recordings are well
up to the high standard set by the earlier releases
in this series.

CHORAL

Monteverdi: Vespro della Beata Vergine. (Sung in
Latin). Margot Guilleaume, Friederike Sailer (so*
pranos); Lotte WolLMattheus (alto); Heinz
Marten, Werner Hohmann (tenors); Franz Kelch
(bass); Swabian Choral Singers and Stuttgart
Bach Orchestra conducted by Hans Grischkat.
2'12" discs in album (*VX'PL'7902) $11.90.

A letter dated 16 July 1610 and written by one

Bernardo Cusalo refers to a work which Monteverdi
was composing and describes it as “una missa a sei
voci, di studio e fatica grande ” (a mass for six
voices, a composition of study and great toil). This
statement, insofar as this writer is concerned, is no
more nor less than the unvarnished truth. The
Vespro della Beata Vergine is a monumental work,
one that cannot, incidentally, be understood or even
partially absorbed at a single hearing.

Monteverdi went to considerable pains to com'
pose a piece that would be acceptable to the church
authorities (particularly Pope Paul V) and wrote
this tremendous work in the then conservative North'
ern style which was in favor at the Papal Chapel.
The Netherlands polyphony gives the piece its pecu'
liar austerity and religious intensity. Monteverdi
was no mere imitator, and what he did was to absorb
the style of Gombert and Ockeghem and combine
them with his own; the result is a composition which
is unique in music history.

The present performance and recording of this
intense and personal music is an excellent one. The
soloists, Margot Guilleaume especially, are very
good, and the accompanying artists are exceptionally
capable. It is difficult, virtually impossible, to single
out any portion of the Vespro della Beata Vergine
as being outstanding; it is on a uniquely high
plane. The work has a unity and an emotional
coherence that are unforgettable.

Vox has really splurged insofar as the package is
concerned, for in addition to a very attractive album
there are scholarly notes, the complete text, the
playing time (102’46'' incidentally) and the record'
ing characteristic! Bravo Vox! The recording, from
a technical angle, leaves nothing to be desired. The
set should be in every collection of choral music
worthy of the name; nearly everyone will also find
it of more than passing interest. W.

Honegger: Jeanne d’Arc au Bucher (complete).
(Sung and spoken in French). Vera Zorina,
Raymond Gerome (speaking); Frances Yeend,
Carolyn Long (sopranos); Martha Lipton (con'
tralto); David Lloyd (tenor); Kenneth Smith
(bass); John H. Brown (boy soprano); Anne
Carrere, Charles Mahieu, Jean Juillard (narra'
tors); Temple University Choirs directed by Elaine
Brown; St. Peter's Boys' Choir directed by Harold
Gilbert; and Philadelphia Orchestra conducted by
Eugene Ormandy. 2' 12" discs in album (*C'SL-
178) $12.11.

Except for this remarkable recording, how many
music lovers would ever have the opportunity of
hearing this exquisite work of art, the work of two
distinguished Frenchmen — Paul Claudel, the cele'
brated mystic poet and dramatist, who has supplied
the text, and Arthur Honegger, one of the out'
standing composers of the present century, who has
supplied the superb musical score? True, it has been
given several times in this country since its first per'
formance in America on 1 January 1948 at New

PAGE 9

’THE WORLD'S RECORD SHOP"

Indicates LP 88 ^ rpm.
0 Indicates 45 rpm.

JUNE

The N^zc; Records 1953

York with Vera Zorina and the Philharmonic'Sym'
phony under the direction of Charles Munch, but
only a comparatively few persons have heard these
performances. Now thanks to Columbia’s enterprise
and altruistic efforts it is available for us and for
future generations to listen to and enjoy. We say
altruistic because we do not see how such an ex'
pensive recording can be a commercial success.
During the 19 52' 5 3 season Eugene Ormandy ar'
ranged for performances of it with Miss Zorina, the
Philadelphia Orchestra, choirs, and assisting artists.
Columbia seized the opportunity of recording it at
that time, and thus the present recording mirrors
the highly artistic and successful performances given
under Mr. Ormandy’s direction during the season
just closed.

Jeanne d’Arc au Bucher (Joan of Arc at the
Stake) was commissioned by the great dancer and
mime, Ida Rubinstein, and is dedicated to her. It
was first performed at Basle (Switzerland) on 12
May 1938. It is largely a dialog between the two
principal characters, Jeanne d’Arc (Vera Zorina)
and Frere Dominique (Raymond Gerome), with
musical background. Interspersed are sections for
the choirs and numerous characters, both sung and
spoken. Briefly, Jeanne d’Arc au Bucher might be
described as a musico'dramatic version of the familiar
story of Joan of Arc with the emphasis on the mysti'
cism of this revered French Saint. In addition to
the inspiring music, the beauty of the French diction
of the dialog is apparent whether one understands
French or not. A fine booklet accompanies this set
of discs giving the complete French text and a
splendid English translation.

Here is a prime work of modern art superbly
performed and recorded. It certainly has our blessing.

R.

Mendelssohn: Die erste Walpurgisnacht, Op. 60

(complete). (Sung in German). Annie Woudt
(alto); Leo Larsen (tenor); David Hollestelle
(baritone); Netherlands Philharmonic Choir and
Orchestra conducted by Otto Ackermann. One
and one'half sides, and Mendelssohn: (5) Songs.
Uta Graf (soprano) accompanied by Leon Pom'
mers (piano). M2" disc (*CH'CHS'l 1 59) $5.95.
CONTENTS: Die Jiebende Schreibt; T^eue Liebe;
Schilflied; Der M ond; Auf Fluegeln des Gesanges.

The night between April 30th and May 1st is, in
Germany, called the W alspurgisnacht as being de'
voted to Walpurga or Werburga, a British Saint,
sister of St. Boniface, the apostle of Germany. In
the popular tradition it is supposed to be the night
for great festivals of devils and witches on the
mountains of the Hartz. Goethe’s poem, The First
Walspurgis Night, set to music by Mendelssohn,
describes the origin of the festival or, more properly,
the popular superstition.

Mendelssohn wrote this setting of Geothe’s poem
in the winter of 18 30' 31 while on a trip to Italy.
He wrote his sister that it had become a “grand

cantata with full orchestra’’ and adds “it may turn
out well.’’ He later (1842) rewrote the work
drastically, and it is the revised version that is
is recorded here.

The piece opens with an overture descriptive of
“winter changing into spring.’’ Then follows a
series of choruses and solos — all in the best of taste.
The music is carefully worked out, but somehow
does not go very deep and consequently does not
convince.

The performance also fails to impress, but whether
it is the fault of the artists or the music is difficult
to determine. The soloists Larsen (tenor), Woudt
(alto) and Hollestelle (baritone) are only ordinary
singers. Ackermann and the Netherlands Philhar'
monic Choir and orchestra impress us as being rou'
tine in their performance. The net result of so
much mediocrity needs no description.

Uta Graf, singing six songs of Mendelssohn, in'
eluding the thrice familiar Auf Fluegeln des Ge'
sanges, does well but is in no way exceptional.
Concert Hall’s recording is good, notes and texts
are supplied. Better hear this one first. W.

Flemish Choral Music. Ghent Oratorio Society con'

ducted by Marcel de Pauw. l'l 2" disc (*ESO'

514) $5.95.

CONTENTS: 16th Century Polyphonic Songs:
O La, O Che Bon Eccho; Serenade van de Land '
s\necht; Mille Regrets; Irit Groene. Guitar Inter'
mezzo: Fiamenga; Gagliarda. Old Flemish Christ'
mas Songs: Maria die Soude Bethlehem gaen;

Het was een M aghet Uutvercoren. Old Flemish Love
Songs: Ic Sag Caecilia \omen; Ic seg adieu; Amoreus
liede\ijn. Popular Ring Dances; Daer ging ’ hen
Pater; Reuzelied. Modern Choral Songs: Fantasia;
Hymne aan de Schoonheid.

Motets of the Venetian School (16th Century).

Choir of the Capella di Treviso directed by Mon'

signor Giovanni d’Alessi. M2" disc (*VX'PL'

8030) $5.95.

CONTENTS: Cantate Domino, canticum novum;
Bonum est confiteri Domino; O sacrum convivium;
Missa Pater Peccavi (excerpts); Egredimini et videte
(Andrea Gabrieli, ca. 1510' 1586). Tristes est anima
mea; O salutaris hostia; Lamentations of Jeremiah —
Lesson 1 (Giovanni Nasco, d. 1561). Sancti et justi
(Claudio Merulo, 1533T604). Adoramus Te Domine
Jesu Christe (Giovanni Matteo Asola, ca. 1560'
1609). Sancta Maria (Giovanni Gabrieli, 1557'
1612).

This disc of Flemish Choral music (including two
guitar pieces for diversity, but well integrated) is
the first recordings to our knowledge, of its type, a
balanced anthology in small scale which is outstanding
for its artistic arrangement of selections in a re'
markably satisfying progression. It is also, inciden'
tally, one of the few available high fidelity recordings
of a choral group.

The Venetian Motets here presented are more or

* Indicates LP 83 rpm.
pj Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 10

JUNE

The ISlew Records

1953

less authentically executed but of unsustained in'
terest because of abnormally heavy sound, due most
probably to mediocre recording, if not a little to a
too large chorus.

Polyphonic Masters of the XVI Century. Graduat'
ing Class (1948) of the Gregorian Institute, di'
rected by Dom Ermin Vitry, O. S. B. L10" disc
(*GIOA'PM'LP'l) $4.75.

( This annotation is reprinted from the February
1949 issue. It appeared in this place when the
original 78 rpm recording of this wor\ was issued .)

In the foreword to the notes that are supplied with
it, the object of this important album is nicely
stated. From the foreword we quote:

“In order to gain a proper evaluation of the
musical art of the sixteenth century, we are direly in
need of recordings which emphasize the true qualify
cations of this gigantic and yet lofty music. Of the
many choral recordings available, classic polyphony is
represented only by scant and timid attempts, often'
times devoid of the true characteristics of this unex'
celled period of choral art. The present album brings
into proper perspective a form of music which has
considerably deteriorated in modern times, and whose
acquaintance may restore to contemporary music the
healthy objectivity which it has obviously lost."

Most of the selections in this album are for four
mixed voices and all of them have been edited by
the distinguished scholar of this musical period, Dom
Ermin Vitry, O.S.B. We feel that they are authori'
tative and so recommend them.

The selections are: O vos omnes (Palestrina); Ave
vera virginitas (Josquin des Pres); Ecce quomodo
moritur justus (Palestrina); In pace in idipsum (Or'
lando de Lassus); Kyrie and Agnus Dei from Missa
“Ave Maris Stella" (Josquin des Pres); Jubilate Deo
(Carolus Andreas); and Cantate Domino (L. Via'
dana).

OPERA

Tchaikovsky — arr. TaneiefF: Romeo and Juliet — -
Love duet. One side, and Gounod: Romeo et
Juliette — Non, ce n’est pas le jour (Act IV).
Jean Fenn (soprano) and Raymond Manton
(tenor) with the Los Angeles Orchestral Society
conducted by Franz Waxman. l'l 2" disc (*CL'
P'8189) $4.98.

Many years ago, around the late nineties, Gounod’s
Romeo et Juliette was one of the great favorites —
rivalling the same composer’s Faust. Such casts as
the two de Reszkes, Emma Eames and the incom'
parable Lasalle added much to the glamor of the
score and, perhaps, concealed some of its weaknesses.
Nowadays, the opera has fallen into disrepute, and
its memory survives largely because of many sopranos’
fondness for the Waltz Song Je veux vivre dans ce
reve.

Capitol has done opera lovers a real service by

recording the great fourth act duet, including the
long orchestral introduction. Musically it is one of
the high spots of the opera, second only to the
magnificent Tomb Scene, and is deserving of a more
extensive acquaintance among students and profes'
sionals. The singing, by two young American artists,
Jean Fenn and Raymond Manton, is of a very high
order — being expressive, understanding and vocally
secure.

The other side is a real curiosity and is, for all
intents and purposes, a vocal arrangement of the
popular tunes from the famous Overture 'Fantasia.
It is curious that Tchaikovsky should have had the
same idea as the boys in Tin Pan Alley — only he
was some fifty years ahead of them; he had a right
to the piece and then never finished or published it.
It was his friend and pupil, Sergius Taneieff, who
completed the work using portions of the afore'
mentioned Overture 'Fantasia. Not to be outdone,
Conductor Waxman uses a portion of the introduc'
tion of the Overture in this recording. It all adds
up to a very interesting and, of course, melodious
work. Miss Fenn and Mr. Manton, joined on this
side by Katherine Hilgenberg (who sings the brief
portions allotted to the Nurse), do another fine job.

Capitol has recorded both sides in sterling fashion,
their FDS technique sounding better than ever. Sour
note: there are very sparse comments on the jacket
and no texts. W.

VOCAL

Schubert: Die Winterreise, Op. 89 (complete)
(Sung in German). Karl Schmitt' Walter (bari'
tone) accompanied by Hubert Giesen (piano).
2'1 2" discs in album (*L'LL'702/3) $11.90.

Recordings of Schubert’s magnificent (there is
no other word for it) song cycle Die Winterreise
have been almost as ilhstarred as the tragic subject
of the cycle. The three previous sets, Carne on
Westminster (TNR Nov. ’51), Conrad on Vox
(TNR Aug. ’50) and Hotter on Decca (TNR Nov.
’51) all left something to be desired. This reviewer
admits to having strong opinions as to how these
songs should be sung (largely due to the unforgetable
Husch recording) and is apt to judge harshly.

It was, then, with a feeling of “here we go again”
that he played this most recent recording by Karl
Schmitt' Walter. Herr Schmitt' Walter, if memory
serves correctly, sang some Schubert on a Capitol
disc of a few years back and sang it very well. Now
in a modern recording his fine baritone sounds ex'
tremely good and his artistry is of the first order.

The over'all effect of this performance is one of
great sincerity and fine musicianship. The soloist
sings with conviction, expression and understanding
and is at great pains to realize the essential variety
of emotional content Schubert wrote in the score.
His voice is dark in color and even throughout its
range. In short, he is a lieder singer both physically

PAGE II

"THE WORLD'S RECORD SHOP"

• Indicates LP 88 rpra,
0 indicate** 45 rpm

JUNE

The Nm 'Records

1953

and mentally. He succeeds not so much by trying
to sell his voice as he does by re-creating the mood
of the song.

In this recording Herr Schmitt- Walter is fortu-
nate in having an accompanist of high calibre — Hu-
bert Giesen — who furnishes a support that is impec-
cable. Fortunate too, is the superior recording job
furnished by London's engineers.

The only fly in the ointment (in this imperfect
world, the flies are always with us) is the reluctance
of London to supply readable notes and texts. As
though it were an afterthought, notes (in themselves,
excellent) and German-English texts are printed on
the inside of the album covers. The print is so small
that after reading them one's eyes “bug out like
a tromped on toad-frog's."

Nevertheless the set is highly recommended. It
is the best Die 'Winterreise on LP. W.

Beethoven Songs. One side, and Brahms Songs.

Herta Glaz (mezzo-soprano) accompanied by Leo

Mueller (piano). 1-12" disc (*MGM-E-3012)

$4.85.

CONTENTS: Anden\en; Ich liebe dich; Mailied;
J^ur wer die Sehnsucht \ennt ; Kennst du das Land;
Wonne der Wehmut; Der Kuss (Beethoven). Zige-
unerlieder, Op. 103 — (8) Songs; T^icht mehr zu dir
zu gehen, Op. 32, No. 2; W ehe, so willst du mich
wieder (Brahms).

Brahms Lieder. Alice Howland (soprano) accom-
panied by Paul Ulanowsky (piano). 1-12" disc
( *STRAD-STR-6 1 0 ) $5.95.

CONTENTS: Alte Liebe, Op. 72, T^o. 1; Sonn'
tag, Op. 47, No. 3; M ddchenlied, Op. 107, No. 5;
Von ewiger Liebe, Op. 43, No. 1; Der Gang zum
Liebchen, Op. 48, No. 1; "Hicht mehr zu dir zu
gehen, Op. 32, No. 2; Der Kranz, Op. 84, No. 2;
Immer Leiser wird mein Schlummer, Op. 105, No. 2;
Botschaft, Op. 47, No. 1; Wenn du nur zuweilen
lachelst, Op. 57, No. 2; A uf dem Kirchofe, Op. 105,
No. 4; Dort in den W eiden, Op. 97, No. 4; An die
Nachtigall, Op. 46, No. 4; Salamander, Op. 10 7,
No. 2.

These two lieder recitals offer grounds for an
interesting speculation on motives or, perhaps, on
the artistic standards of the issuing companies. In
one case the recording artist is a singer of above
average stature and is fairly well known and the
price is a modest one, $4.85. The other disc features
a relatively new singer, who reveals little or no
understanding of her material, and the price is
$5.95!

Herta Glaz, who made a few records for Victor
before the war, sings (and very acceptably) seven
of Beethoven's songs and ten by Brahms. The Beetho-
ven group includes such favorites as Ich liebe dich,
A nden\en, 'Wonne der Wehmut, the less familiar
Kennst du das Land and Mailied, to mention but a
few. Miss Glaz' singing is marked by a warm expres-
sive tone that is admirably suited to the subject

matter. Interpretively the music is presented in a
mature and intelligent; fashion. The Brahms items
receive substantially the same treatment and are,
consequently, a thoroughly pleasant experience. The
recording is good; Leo Mueller is an extremely able
accompanist. Texts and translations are given on
the jacket.

Alice Howland falls into the growing category
of singers on records (a group that has increased
by leaps and bounds since the advent of LP) who
are neither good nor bad. She approaches these four-
teen songs as so many words to be pronounced, so
many notes to be sung. Now fourteen lieder by
Brahms can be dull when treated so cavalierly —
and dull is the word for this recital. Miss Howland's
voice is better than her understanding — she needs
more training in the interpretive phase of her art.

The texts of the songs are not furnished — the
recording is passable. Stradavari should get on the
beam; at these prices such packaging is inexcusable.

W.

Mozart: Motet, K. 165 (“Exsultate, jubilate").
(Sung in Latin). One side, and Mozart: Die
Zauberflote — Ach, ich f uhl's. And Mozart: Le
Nozze di Figaro — Venite, inginocchiatevi. And
Mozart: II Re Pastore — L'Amero, saro costante.
Hilde Gueden (soprano) with the Vienna Phil-
harmonic Orchestra conducted by Alberto Erede.
1-10" disc (*L-LS-681) $4.95.

Schumann: Liederkreis, Op. 39. (Sung in German).
Suzanne Danco (soprano) accompanied by Guido
Agosti (piano). 1-10" disc (*L-LS-590) $4.95.
Hilde Gueden is rapidly emerging as one of the
better lyric sopranos of our time. On this ten-inch
London disc she offers a series of Mozart pieces and
all are extremely well sung, particularly as regards
style. To sing Mozart effectively the artist must
have musical understanding of uncommon depth
and this Miss Gueden has. The lovely motet Exsuh
tate, jubilate is sung exquisitely; but, as if the gods
saw to it that one did not get too much, this truly
superior performance is marred by “blasting" towards
the inside of the record. It is a recording fault that
could have been avoided. The assorted arias are
equally fine interpretively and fine examples of Hilde
Gueden's considerable art. Aside from the defect
noted above, the disc boasts pretty fair recording.
Even as it is, the Motet is far superior to any other
recorded version.

Vocal gifts of a different nature but of equally
high calibre are displayed on the second small disc,
this time the artist is the charming Belgian soprano,
Suzanne Danco. She has recorded — and very beauti-
fully — the lovely Leider\reis of Robert Schumann.
This cycle of twelve songs is Schumann at his lyric
best, being second only, in this reviewer's estimation,
to the better known Dichterliebe. Miss Danco has
all the poise, polish and understanding necessary
for a successful projection of the warmly romantic
lieder. The recording has been accomplished in a

• Indicates LP 885^ rpm.
0 Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 12

JUNE

The Nm R ecords

1953

technically satisfactory manner. Piano accompani-
ments that match the soloists mood to perfection are
supplied by the able Guido Agosti. W.

Songs of Reynaldo Hahn. Jacques Jansen (baritone)

accompanied by Jacqueline Bonneau (piano).

1-10" disc (*L-LS-645) $4.95.

CONTENTS: (5) Chansons Grises; Quand je
Fus Pris au Pavilion; L’Incredule; Paysage; Phyllis;
Si mes Vers Avaient des Ailes; Mai.

French Art Songs. Jacques Jansen (baritone) with

instrumental accompaniments. 1-12" disc (*L-LL-

644) $5.95.

CONTENTS: Trois Ballades de Franqois Villon;
Le Promenoir des Deux Amants; Fantoches (Debus-
sy). Les Cigales; Ballade des Gros Dindons; Villa'
nelle des petits Canards; Vile Heureuse (Chabrier).
Chansons M adecasses (Ravel).

These two discs offer as fine a collection of French
songs as could be desired. Debussy, of course, is well
represented elsewhere as is Ravel, but Chabrier and
Hahn, the latter especially, have been but indifferent-
ly represented on LP discs.

Reynaldo Hahn was, to a certain extent, a child
prodigy. His most famous song, a setting of Hugo’s
Si mes Vers Avaient des Ailes was written in his
fifteenth year. All the songs on the Hahn record
were written before the composer was twenty-six
years old. This is, to put it mildly, quite an accom-
plishment. Much of the music partakes of the salon —
elegant, polished and occasionally superficial; but it
is never trivial. The five songs from the cycle Chan'
sons Grises are particularly felicitous. Jacques Jansen
sings them all with considerable vocal charm, and he
also is obviously fond of these light but pleasant
songs written in the Gounod tradition.

More serious, more pretentious but sometimes not
as rewarding and seldom as charming are the De-
bussy songs. The Villon Ballads, however, are to
be numbered among Debussy’s best contributions to
the form. Chabrier’s little songs are the precursors
of the Satie-Poulenc school — humorous and dry,
but without the irony or bite of the later writers.
Ravel’s Chansons Madecasses (Songs from Madagas-
car) have been recorded before, notably by Martial
Singher. The three songs 7s [ohandove (a tropical
love song), A oua! (a hymn of hate against the
white invaders) and the final II est doux are all
evocative and may be ranked among the best of
modern French songs.

Jacques Jansen sings this at times difficult music
with appropriate style and the necessary conviction.
His able accompanist in both discs is Jacqueline Bon*
neau and on the latter disc (in the Ravel songs) she
is assisted by Maurice Gendron (’cello) and Jean
Rampal (flute).

The recording is generally good; there are no texts
supplied, nor do the reasonably informative notes
compensate for the omission. W.

Song Recital. Mme. Geori Boue (soprano) accom-
panied by Maurice Faure (piano). One side, and
Operatic Recital. Mme. Geori Boue (soprano)
with L’Orchestre du Theatre National de l’Opera
de Paris conducted by George Sebastian. 1-12" disc
(*UR-URLP-7070) $5.95.

CONTENTS: Mandoline, II pleure dans mon
coeur, Vert (Debussy); Clair de Lune, Les roses
d Ispahan, Au bord de leau (Faure); Chanson
triste, Phidyle (Duparc); Faust — Ballade: II etait
un roi de Thule; Faust — Air de bijoux; Herodiade —
II est doux, il est bon; Louise — Depuis le jour.

By and large this is one of the more disappointing
LP discs issued recently. It is a hodge-podge to
begin with, and Mme. Boue is not able to make
it hang together.

The four operatic airs are sung in what can be
charitably described as routine fashion. One knows
for certain that the soloist can sing the Faust music
much better than she does here — Geori Boue is the
Marguerite in the complete recording of the opera
by RCA Victor. The big difference between the
present recording and the complete set is in the
presence of Sir Thomas Beecham at the helm. The
Herodiade excerpt is sung with a hard, brittle voice
that has little of the sensuousness one expects of
Salome. Depuis le jour from Charpentier’s sole claim
to fame Louise” is perhaps the best sung of the
four arias, but it is also the least, musically.

On the reverse side is a group of French art songs
ranging from Debussy to Duparc. All have been
recorded before, most of them sung with more con-
viction and variety of expression than Geori Boue
can sum up for this occasion. The various songs
seem to merge into each other until, at the end of
the record, one has difficulty in recalling a single
outstanding rendition among them.

Considering the lavish praise that has been show'
ered on the singer, one is at a loss to understand why
these performances are so dull. Nevertheless, dull
they are, and only slavish admirers of the soloist
will, in all probability, be interested. Fair recording
has been achieved and the texts of all the music
are included. W.

Handel: Italian Cantata No. 14 (“Agrippina con-
dotta a morire”). One side, and Handel: Italian
Cantata No. 13 (“Armida abbandonata”). (Sung
in Italian). Agnes Giebel (soprano) with the Ton-
studio Orchestra (Stuttgart) conducted by Rudolf
Lamy. And Handel: Italian Cantata No. 17
(“Pensieri notturni de Filli”). Agnes Giebel (so-
prano) accompanied by Alfred Mann (recorder),
Helmut Reiman (violoncello) and Helma Eisner
(harpsichord). 1-12" disc (*OC-OCS-30) $5.95.
The preponderance of Handel’s very numerous
Italian Cantatas — of which about one hundred sur-
vive — belong to the years of his Italian wanderings.
The cantatas, writes Herbert Weinstock in his excel-
lent biography of the composer, “are little known

PAGE 13

"THE WORLD’S RECORD SHOP”

Indicates LP 88 rpm.
0 Indicates 45 rpm.

JUNE

The New Records

1953

(and) are in reality only slightly less important in
the corpus of Handel’s works than Bach’s cantatas
are in his.”

The above seeming extravagant statement is amply
justified by the cantatas recorded for the first time
on this Oceanic disc. This is a very different Handel
from the man who wrote the great oratorios and the
florid Italian operas. The first cantata A rmida abbari'
donata is a setting of the classical story and is urn
usual and particularly beautiful because of the re'
straint with which the rather strong language of the
text is set. There is an almost Olympian dignity
about the piece that bears ample witness to Handel’s
consummate taste and workmanship. Armida abbari'
donata was copied out in its entirety by Sebastian
Bach, a fact that indicates he (Bach) must have
thought very highly of it. The second cantata is a
delightful Arcadian work Pensieri notturni di Filli
(Nocturnal thoughts of Phyllis) that is an almost
perfect invocation of spring. The accompaniment
of recorder and ’cello is inspired. The last cantata
recorded here, Agrippina condotta a morire, is more
dramatic, more pretentious but never descends to
vulgarity nor “sound and fury” for its own sake.
Dignity and decency are the keynotes for all these
works.

For the work of soloist Agnes Giebel and con'
ductor Lamy one has only the highest praise. Miss
Giebel has a clear lyric soprano, a voice of the ut'
most flexibility and extreme purity throughout its
range. Her sense of style, as well as that of Herr
Lamy is unerringly accurate. Oceanic’s recording is
a beautiful job and thus the disc can be unreservedly
recommended. The texts of the three cantatas are
included. W.

Richard Strauss Songs. Anny Felbermayer (so'

prano), Alfred Poell (baritone) accompanied by

Viktor Graef (piano). M2" disc (*VAN'VRS'

431) $5.95.

CONTENTS: Hat Gesagt — Bleibt’s nicht Dabei,
Op. 36, 7s [o. 3; Ach Lieb, ich muss nun scheiden,
Op. 21, 7\ [o. 3; Heim\ehr, Op. IS, No. 5; Die 7\[acht,
Op. 10, No. 3; Schlagende Herzen, Op. 29, No. 2;
Schlechtes Wetter, Op. 69, No. 5; Einerlei, Op. 69,
No. 3; Morgen, Op. 27, No. 4; W interliebe, Op. 48,
No. S; Ruhe, meine Seele!, Op. 27, No. 1; Waldselig'
\eit, Op. 49, No. 1; Das Rosenband, Op. 36, No. 1;
Im Spatboot, Op. S6, No. 3; Nichts, Op. 10, No. 2;
Traum durch die Dammerung, Op. 29, No. 1; Mein
Herz ist stumm, Op. 19, No. 6.

These sixteen songs of Richard Strauss, many
of which will be new to American music lovers, offer
something of a problem. To be sure, there are a
few old favorites, such as Morgen, Ruhe meine
Seele and Traum durch die Dammerung, but the
majority are both unfamiliar and, if a few hearings
may be trusted, musically inferior to the ones that
have enjoyed the greater popularity.

Chief interest then centers in the singing, and it

is exquisite! Anny Felbermayer is as fine a soprano
as is singing today. Her voice has a quality best de'
scribed as silvery — it floats over the music in a
manner almost magical. It would be difficult to im'
agine a more engaging young singer.

Dr. Alfred Poell has long been one of this de'
partment’s prime favorites — second only to Gerhard
Hiisch as a lieder singer, which is the highest praise
at one’s command. His diction is perfect, and his
grasp of the lieder style is one that comes only from
a high order of intelligence and understanding.
He has never, to this writer’s knowledge, made
a poor record, although at times, as in the present
disc, the material is not always worthy of his obvious
talents.

This record is, as the reader can readily gather,
one for Strauss enthusiasts, although those who ad'
mire fine singing per se will get their money’s worth
too. The recording on the side devoted to Miss
Felbermayer is very good, but the other, unfortunate^
ly, was not good at all, at least on the review
copy. Texts and translations are furnished. W.

Folk Songs and Ballads. (Sung in English). Helen
Traubel (soprano) with orchestra conducted by
Robert Armbruster. 3'7" discs in box (0V'WDM'
7013) $3.99. MO" disc (*V'LM'7013) $4.67.
CONTENTS: Come Again, Sweet Love Doth
Now Invite (Dowland); Lord Rendal (trad.); Green'
sleeves (trad.); He’s Gone Away (trad.); The Lone'
some Road (Austin); Bygone Tunes (Longone);
I’m Wearin Awa John (Nairn); Son tres mesi, che
fo il soldato (Italian — sung in English); Come to the
Sea (Italian); Come Bac\ to Sorrento (de Curtis).

The songs that Miss Traubel has chosen for this
LP disc cover a period of over three hundred years
(John Dowland died in 1626) and represent many
countries including our own. If it is variety you are
looking for here it is. We presume that Miss Traubel
selected a number of songs that appeal to her regard'
less of whether they were popular in Shakespeare’s
day or her own. We found some of them interesting
and some of them not; perhaps you will like all of
them; if you do, you certainly have a catholic taste.

Mozart: (30) Pieces for the Piano. Poldi Zeitlin
(piano). M2" disc (*OPUS'6003) $5.95.

Schumann: Album for the Young, Op. 69 (com'
plete). Poldi Zeitlin (piano). M2" disc (*OPUS'
6004) $5.95.

Opus Records has added to its series of recordings
for young students of the piano the two new items
listed above. The first disc contains thirty short
Mozart pieces which Miss Zeitlin has edited for her
forthcoming book, “Young Mozart for the Young
Pianist.” The second disc contains a complete
recording of Schumann’s “Album for the Young,

Indicates LP 88 rpm.

H. ROYER SMITH COMPANY

PAGE 14

june T he New Records 1953

Opus 68." This unique work consists of 43 short
pieces — the first 18 are for more or less beginners
and the second 25 are for more advanced students.

These recordings, as were the former ones, have
been made by the distinguished teacher and pianist,
Poldi Zeitlin. Miss Zeitlin is a niece and former
pupil of the late Artur Schnabel, who first interested
her in editing and recording little pieces of the great
masters for the use of young pupils of the piano.

As the first two discs, Tchaikovsky's “Album for
the Young, Opus 39“ (*OPUS 6001) and Beetho'
ven: (21) Pieces for Piano (*OPUS 6002), which
were reviewed in our March 1953 issue, were well
received by teachers and pupils alike, we feel sure
that the present discs have a sizable market awaiting
them.

Organ Music. Robert 'Noehren, playing the organ
at Grace Episcopal Church, Sandusky (Ohio).
M2" disc (AUDIOPHILE AP'3) $5.95.
CONTENTS: Carillon de Westminster (Vierne);
Legende (Vierne); Prelude and Fugue on B A'C'H
(Liszt).

Organ Music. Robert Noehren, playing the organ
at Grace Episcopal Church, Sandusky (Ohio).
M2" disc ( * AUDIOPHILE AP'2) $5.95.
CONTENTS: Carillon de Westminster (Vierne);
Legende (Vierne); Scherzetto (Vierne); Divertisse *
ment (Vierne); (5) Short Choral Preludes (Reger);
Prelude and Fugue on B'A'C'H (Liszt).

Organ Music. Robert Noehren, playing the organ
at Grace Episcopal Church, Sandusky (Ohio).
2' 12" discs in folder (* AUDIOPHILE AP'4/5)
$11.90.

CONTENTS: (3) Chorals (Franck); Prelude,
Fugue and Variations (Franck).

In the editorial of the April 1953 issue we listed
a number of selections published by Audiophile
Records, commenting only on their exceptional range
and fidelity; undoubtedly these pressings are some
of the finest technical jobs available today — partial'
larly the 78 rpm microgroove records. However, in
view of the fact that Robert Noehren is an organist
of no mean stature and that little enough of good
organ music is presently available, we should now
like to comment on the musical value of the discs
in the heading above. As a foreword to our remarks
we should again call our reader's attention to the
fact that the 78 rpm record (AP'3) listed above is
a microgroove record, and should be played with
the same stylus that one uses for LP’s and 45 rpm
records, setting the turntable, however, for 78 rpm.

Robert Noehren has appeared on discs before, a
number of which used the Sandusky organ; but it
never sounded like this. Here is truly a new high in

faithful reproduction of a pipe organ. This type of
reproduction places the listener in the chancel of the
church rather than in the nave, for there is no
cloudiness, no disturbing reverberation, nor any
other distraction from the actual organ tone. The
organist himself, seated at the console, probably does
not hear his instrument speaking with the balance
that we hear on these discs. No organist can help
being thrilled to the marrow of his bones with these
records, and we are certain that a large portion of
all music lovers will find a new appreciation for
the organ when they hear it on these discs. Any
mechanical noises heard on these discs are from
the organ itself, which does not employ a modern
electric action. This organ, when reconstructed in
1950, retained the old mechanical action — there are
many organists who realize the playing advantages
of a mechanical action.

Noehren presents the three great organ Chorals
of Franck, the most distinguished organ music of the
19th century and among the greatest of Franck's
compositions. They are supremely beautiful music,
and Noehren plays them with a strength and clarity
that is characteristic of this man's work at its best.
There is no striving for effect, no mannerisms to
detract from the splendor of the music. Here are
performances of which any organist could be mighty
proud. The organ sounds wonderful in every bar
of this music, with crescendos and full organ effects
of spine'tingling grandeur. No organ library is
worthy of the name that does not house this set.

The single LP disc titled “Organ Music" (*AP'2)
contains more real organ music from the top drawer.
We are finally getting some Vierne — the W estminster
Carillon and the Scherzetto are organists' favorites
which are mighty welcome on discs. The Reger
chorahpreludes are also prime examples of well
constructed organ music, and Liszt's famous virtuoso
organ piece, while many times previously recorded,
never had it better than under Noehren's hands.
We could go on at a great rate, but by now you
have probably gathered that these discs have our
unqualified recommendation. S.

Liszt: Fantasia and Fugue on "Ad nos ad salutarem

undam.” One side, and Widor: Symphony No.

9, Op. 70 (“Symphonie Gothique") — Variations.

Jeanne Demessieux (organ). IT 2" disc (*L'LL'
697) $5.95.

Jeanne Demessieux is a typical French virtuoso
organist who is creating quite a stir among organists
for the style of her playing. She is a deadly accurate
player but no dull performer, for her interpretations
have a flair which is sometimes questionable although
usually interesting and exciting. The Liszt Ad nos
is a good vehicle for this performer, and she offers
a stunning rendition. This old showpiece was pro'
grammed frequently a few decades ago, and was
recorded in the old 78'Speed days by some of the
top recording organists. Here is the first LP version,

“THE WORLD'S RECORD SHOP"

• Indicate* LP 88 ^ rpm.
0 indicates 45 rpm.

JUNE

The N ew R ecords

1953

a complete performance and a beauty.

The Fantasia and Fugue, composed in 1850, was
the first of Liszt’s many organ works and is also
the largest in scale. It is based on a chorale from
the first act of Meyerbeer's opera, Le Prophete ; the
theme is Meyerbeer’s own and not, as has sometimes
been stated, a traditional chorale. Though designed
to be played without a break, the work is divided
into three main sections: the Fantasia proper, a
central slow section, and the final Fugue. The effect
of the work is as logical as it is wonderful, for after
a brilliant fantasia, the calm and meditative Adagio
brings us one of Liszt’s finest inspirations; the work
is capped with a magnificent fugue. This fugue is
a regular four-part work for a while; then the clas-
sical fugue ends, and the treatment becomes freer
and freer with all kinds of variations thrown in.
A powerful climax brings the work to a satisfying
close.

Widor’s Symphony No. 9, or “Gothic” Symphony,
for organ consists of four movements, of which the
Variations form the finale. The movement starts
out simply, builds up in power and complexity, and
ends in the simple style of the opening. We enjoyed
this disc more than any other by Demessieux and
recommend it to those interested in the material
recorded. It would be nice if London would let us
know what organ is being used. However, it is of
the robust, romantic, church variety, and is very
well recorded.

MISCELLANEOUS

Recorder Music of Six Centuries. Recorder Consort
of the Musician’s Workshop. 1-12" disc ^CLAS-
SIC EDITIONS CE-1018) $5.95.

CONTENTS: Tanzlied (Reuental); Stantipes,
Saltarello, (3) Italian Villanelas (Anon.); Mes
Espris (Machault); Gram piant ’ agli ochi (Landini);
Si je perdu mon ami (Josquin des Pres); Suite of
Dances (Suzato); (3) German Dances (Praetorius) ;
Kicercare (Willaert); Fantasia a Tre (Bassano);
(3) Fantasias (Lasso); Fantasia (Byrd); (2) Fan'
tasias (Morley); Chromatic Fantasia (Diomede);
(2) Fantasias (Gibbons).

Since none of the music on this record was
written specifically for recorders, and since most
of it would sound substantially more attractive in
other settings, we may assume that the chief reason
for the presentation is simply to provide a recording
of recorders. Therefore, this disc, (which, incidental-
ly, is well performed) is predominantly of interest
to those who are concerned with the instruments
involved. As a brief anthology of early music it
proffers only minor values.

BOOKS OF MUSICAL INTEREST

The World’s Encyclopaedia of Recorded
Music. By Francis F. Clough and G. J.
Cuming. 890 pp. Sidgwick and Jackson,
Ltd. (London). Price $17.50.

The TSjeto Catalogue of Historical Records
1898-1908/09. Compiled by Robert Bauer.
494 pp. Published in England. For sale in
U. S. A. by H. Royer Smith Co. (PhiladeL
phia). Price $7.25.

The Gramophone Shop Encyclopedia of Re'
corded Music (Third Edition) . Robert H.
Reid, Supervising Editor, 639 pp. Crown
Publishers (New York). Price $2.95.

The Victor Boo\ of Operas. Revised and edited
by Louis Biancolli and Robert Bagar.
xxiv-f-596 pp. Illustrated. Simon and
Schuster (New York). Price $3.95.

Victor Boo\ of Concertos . By Abraham Veinus.
xxv + 450 pp. Simon and Schuster (New
York). Price $3.95.

Collectors Guide to American Recordings
1895' 1925. By Julian Morton Moses.
Foreword by Giuseppe De Luca. 200 pp.
Published by the author. Price $3.75.

I Hear You Calling Me. By Lily McCormack.
201 pp. Illustrated. The Bruce Publishing
Co. (Milwaukee). Price $2.75.

Records: 1950 Edition. By David Hall, ix +
524 + xx pps. Alfred A. Knopf (New
York). Price $6.

NOTE: All the above books have been reviewed
in previous issues of The T^ew Records. If your local
dealer does not stock them, orders addressed to H.
Royer Smith Co., Philadelphia 7, Pa., will be promptly
filled. The prices quoted include postage to any point
within U.S.A.

The first letters In the record numher Indicate the manufacturer: BG — Bach Guild. BL — Blbletone, C— Columbia. CE— Cetra, CH— Concert
Hall Society, CL— Capitol, CSM— Colosseum, CRS— Collector’s Record Shop. D— Decca, DL— Dial, ESO— Esoteric, FEST— Festival,
FOLK — Ethnic Folkways Library, GIOA — Gregorian Institute of America, HS — Hadyn Society, L — London Gramophone, LYR — Lyrl-
chord, ME— Mercury, OC— Oceanic. OL— L’Olseau Lyre, PE— Period. PH M— Philharmonla, PLM— Polymuslc, REN— Renaissance, SOT—
Sounds of Our Times, ST R— Stradivari, UR— Urania, V— Victor, VAN— Vanguard, VX— Vox, and WEST— Westminster.

• indicates LP 83% rpm.
^ indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 16

The N ew R ecords

A BULLETIN FOR THOSE INTERESTED IN RECORDED MUSIC

Issued Monthly by

H. ROYER SMITH COMPANY

“The World’s Record Shop ”

I OTH & WALNUT STREETS .... PHILADELPHIA 7, PA., U. S. A.

VOL. 21, N07i JULY, 1953 * *n * «»**«.

F OR many years the Linguaphone Institute
has been supplying sets of records for learn"
ing foreign languages. Recently, largely be"
cause of the many refugees that are coming to
this country, there has been an insistent demand
for a quick and simple method of learning Eng"
lish. Practically all of the refugees expect to
make the United States their permanent home
and therefore wish to learn our language as
quickly as possible. Linguaphone has always
had sets of records for learning English which
were sold in various countries all over the world
but these sets all taught the student to speak
English as it is spoken by the upper classes in
England — with the long A sound and with
been to rhyme with green instead of with sin,
etc. As the folks who have come to the United
States wish to speak as we do, an entirely new
set of records had to be made. This task has
been accomplished under the direction of W.
Cabell Greet, Ph.D., of the faculty of Barnard
college, Columbia University. Thus we have a
set of records with which to learn “American”
English.

These sets consist of sixteen 78 rpm discs.
Thirty lessons are contained on fifteen of the
discs and the sixteenth record is a phonetic one
giving the various sounds of the letters in our
alphabet. The first few lessons are spoken very
slowly and deliberately — as one would speak
to a child — but as the lessons progress the
speakers talk more rapidly as one would speak
in ordinary conversation. Several voices, both
male and female, are heard on the records so
that the student may become accustomed to
how various persons speak. Thus the trouble
a young child has who has been taught to talk
by his mother is avoided; he understands her
perfectly but has difficulty understanding any"
one else.

Sets for learning “American” English are

available for persons of the following nation"
alities: Spanish, French, German, Italian, Rus"
sian and Portuguese. As nothing but English is
spoken on the records they are the same for all
students but the text books are in the appropri"
ate language that the student understands. In
ordering a set of these records simply request
the Linguaphone set for learning “American”
English and mention that it is for a person who
understands French or German or whatever
his native language is.

The price of these sets consisting of the six-
teen discs, text books and a convenient carrying
case is $57.50 (postpaid within U.S.A.).

BACK COPIES

We are continually receiving requests for
back copies of The New Records. Most of
the issues published during the last twenty
years are available. The price is 10c each. A
file of all of the available issues (at least 140
copies) is $5. These prices are postpaid within
U.S.A.

NOTE: Those persons interested in recent
recordings only may secure all of the issues of
the last three years beginning July 1950 (36
copies) at the special price of $2 (postpaid
within U. S. A.).

ORCHESTRA

Borodin: Symphony No. 1 in E-fiat. One and one"
half sides, and Dohnanyi: Symphonic Minutes,

Op. 36. Bavarian Symphony Orchestra conducted
by Kurt Graunke. M2" disc (*UR'URLP'7066)
$5.95.

Dohnanyi: Ruralia Hungarica, Op. 32b. One side,
and Kodaly: Hary Janos Suite. Philharmonia
Orchestra conducted byr Wilhelm Schuechter.
M2" disc (*MGM'E'3019) $4.85.

The surprise package in this group is the Borodin
Symphony !Nj [o. 1, coming to light for the first time
on discs — and the first time in performance for most
of us. Borodin is a highly respected composer con'
sidering the few works which he contributed, among

july ’like INI e w Records 1953

which is the well known Symphony 7s [o. 2. While
the present symphony may not be the equal of the
familiar Second, it is nevertheless a fine work. The
29-year-old Borodin, under the tutelage of Balakirev,
set to work on the First Symphony in 1862, but
five years passed before its completion. Balakirev
himself conducted the first performance, and in a
dozen years it was one of the first large-scale
orchestral works by a Russian to win a wide Euro-
pean success.

The thematic material is good, and it is worked
out extremely well. There is a nice rhythmic quality
and drive to the score, with a fair amount of Rus-
sian flavor (of that day). The neglect of this work
is unexplainable, for it has a lot of appeal. Kurt
Graunke and the Bavarian Orchestra provide a
telling account of the music, playing with fervor
and conviction — a brilliant performance that is
admirable in every respect. The reproduction is
good. The second side filler is an innocuous affair,
slightly sub-standard Dohnanyi but pleasant, any-
how. It is in four short movements: Capriccio, light
and playful; Rhapsody, folksongish and pastoral; a
double movement Scherzo and Theme and Varia-
tions; and lastly a gay Rondo in perpetual motion
manner. Graunke does another splendid job with
this music too; judging by this disc, Graunke is a
top-notch conductor.

Ruralia Hungarica is a fine work by Dohnanyi,
first written as a piano suite of the same title and
orchestrated a year later (five of the seven move-
ments only were orchestrated). It is performed both
ways these days; this is its first complete recording.
Schuechter and the Philharmonia play it nicely.
Schuechter tackles the brilliant Hdry Janos Suite
bravely and turns in a remarkably fine performance,
individual in at least one respect: he does not race
the Intermezzo, preferring a slower and more roman-
tic approach which results in a valid reading of
great impact. We think Ormandy generally has the
better of it in this work (*C-ML-4306), but we
can give Schuechter a lot of credit. MGM's repro-
duction in this disc is their best so far; they reversed
the disc labels on our copy. S.

Mozart: Symphony No. 40 in G minor. New

Orchestral Society of Boston conducted by Willis

Page. 1-10" disc (*SOT-2065) $4.80.

The New Orchestral Society of Boston is a sym-
phony orchestra composed entirely of top-ranking
orchestral players. We would assume they are drawn
largely, or entirely, from the Boston Symphony
Orchestra. Willis Page is a guest conductor of the
summer Esplanade Concerts of the Boston Pops
Orchestra, director of the St. Cecilia Choral Society
of Boston, and the Little Symphony Society of
Boston. Pierre Monteux was his artistic mentor.
This is considered a musicians' orchestra, and we
are told this whole set-up is something very special.

The records in this series are packaged in a

sealed plastic envelope inside the usual type of
jacket. With each disc is a “certificate of range”
which warrants the dynamic and frequency ranges;
the frequency range of the recording apparatus is
at least 25,000 cycles per second. As we are learn-
ing these days, frequency range is not the only thing
that makes a pleasant and lifelike sound on records,
for balance and other things contribute to the illusion
of a full symphony orchestra. Emory Cook of Sounds
of Our Time Records has produced a record that
is indeed brilliant, but also nicely balanced, of
faithful timbre, and pleasing to the ear. The clarity
of the orchestra is most striking. The finer your
equipment, the better this disc will sound; on small
reproducers, you will enjoy this disc most with the
treble control turned back a bit.

As for the performance of the work — and that
counts too, for many of us — we must admit Page is
quite a conductor, and the orchestra plays with splen-
did qualities of tone, precision, and style. We were
most enthusiastic about the disc until we hit the
final movement, and at that point we were less than
completely satisfied. You may not find this movement
too fast and lacking in perspective, in which case this
is a fine recording. We still think that for the best
interpretation on LP discs, and for a mighty fine
reproduction, Dorati and the Minneapolis Symphony,
complete on one side of a twelve inch disc, still rate
tops (*ME-MG-50010). S.

Prokofiev: Symphony No. 7, Op. 131. Philadelphia
f Orchestra conducted by Eugene Ormandy. One
‘'Lside, and Prokofiev: Lieutenant Kije Suite, Op.
\ 60. Royal Philharmonic Orchestra conducted by

Efrem Kurtz. 1-12" disc (*C-ML-4683) $5.45.

The first American performance of the Prokofiev
Symphony 'FJo. 7 was given by The Philadelphia
Orchestra, conducted by Eugene Ormandy, in April
1953. It was composed in 1952 and was first pre-
sented on October 11 in Moscow. Columbia is to
be congratulated for losing no time in making this
fine recording available. You will be surprised on
hearing this work to find it strikingly simple, un-
affected, pleasant and genuinely easy to enjoy on
first hearing. There is no striving for new effects.
We would call it a good, solid symphony by a
master of the craft. Whatever Prokofiev was, or
had been, and whatever the Russians’ interpretation
of the content of his works, we will avoid discussing,
for this work is so obviously pleasing that other
considerations are only a waste of words. We feel
certain there is a minimum, if any at all, of political
thought or nationalistic feeling in this score. This is
in line with a quotation from Pravda which we find
on the cover notes, discussing the traditional four
movements: “The first movement ranges from a
children’s fairy tale through romantic dreams to the
first active aspirations of youth. The second is a
symphonic waltz; the third is a brief but deeply lyric
and expressive movement. The fourth combines the
moods of a gay dance and an energetic march, spiced

• Indicate* LP 88 5 ^ rpm.
Indicate* 45 rpm.

H. ROYER SMITH COMPANY

PAGE 2

JULY

The ISlew R ecords

1953

with the humor and droll wit which appears so fre*
quently in Prokofiev’s music.” We would add that
this humor and wit, while characteristic of good
Prokofiev music, is not of the biting satire variety
found in some of his, and other modern Russian,
works. We have nothing but enthusiasm for this
fine new symphony, and for the superb performance
which Ormandy and the Philadelphians deliver. Even
for a new and unfamiliar work, we have the feeling
this rendition would be mighty difficult to better.
The reproduction is tops, too.

Lieutenant Kije is available in two other fine
recordings, each with worthwhile couplings. How'
ever, since the principal interest in this disc is the
symphony, we will merely say that Kurts’ reading
is highly competent, comparing favorably with either
of the others, and well recorded. If you are after
Lieutenant Kije, and not the Seventh Symphony,
you may wish to compare this one with Desormiere
(*CL'P'8149) and with Scherchen (*WEST'WL'
5091). S.

Beethoven: Symphony No. 9 in D minor, Op. 125

(“Choral”). Elisabeth Schwarzkopf (soprano),
Elisabeth Hongen (contralto), Julius Patzak
(tenor), Hans Hotter (baritone) with the Choral
Society of the Friends of Music (Vienna) and the
Vienna Philharmonic Orchestra conducted by
Herbert von Karajan. Three sides, and Beethoven:
Symphony No. 8 in F, Op. 93. Vienna Philhar'
monic Orchestra conducted by Herbert van Kara'
jan. 242" discs in album (*C'EL'51) $7.25.

Now that Toscanini has come as close to the Hinth
as he can, the air has been cleared for somebody
actually to come close to it. That somebody, we think,
is Herbert von Karajan, whose recording for Colum'
bia is probably the best over'all version available.
The team of Schwarzkopf, Hongen, Patzak and
Hotter, beyond being able to cope with their parts,
is truly excellent. The Vienna Philharmonic has
never sounded better, nor could it nor the Choral
Society of the Friends of Music be more responsive
to von Karajan’s exacting demands.

The first movement is squarely played in tradi'
tional fashion without quite fully realizing the ulti'
mate tragic possibilities that only Scherchen
(*WEST'WAL'208) has portrayed. The scherzo
is slightly fussy with unnecessary dynamics. The
adagio, however, is the most exquisite one we have
heard. And the choral movement, if only because
it is the only one to be performed accurately, is
without competition; which is merely a minimum
criticism, a more significant statement being that
von Karajan sets forth in that section an organic
unity and over'all rightness that is unique among
the recorded versions of this work and would be
rare in any performance.

Those who have felt that Beethoven’s Eighth Sym'
phony is greater than most conductors will permit
it to be will here find justification for their belief.
This, the last of Beethoven’s classical symphonies,

under von Karajan’s direction sounds truly like the
spirit and summation of its formal type. The first
movement contains a fusion of power and lightness
that is remarkably removed from the usual hurried,
noisy performance. The other three movements
are taken leisurely but economically and are sonically
meaningful such as no other performance we have
heard. Withal this recording contains a musical
insight that is rare. C.

Dixieland Jazz (Vol. II). Harry Blons and his Dixie'
land Band. M2" disc (AUDIOPHILE AP'6)
$5.50.

CONTENTS: My Inspiration ; Dallas Blues;
Clarinet Marmelade ; My Bonnie Lies Over the
Ocean; Just a Closer Wal\ with Thee; Panama.

Dixieland Jazz (Vol. III). Loring “Red” Nichols
and His Band. M2" disc (AUDIOPHILE AP'7)
$5.95.

CONTENTS: Three Blind Mice; Memories of
You; Manhattan Rag; Easter Parade; Tin Roof Blues.

Dixieland Jazz (Vol. IV). Loring “Red” Nichols
and His Band. M2" disc (AUDIOPHILE AP'
8) $5.95.

CONTENTS: Peaceful Valley; Candlelights; I'm
on the Gravy Train; Cor\y; I Cant Believe that
You’re in Love with Me; Rondo.

In the April 1953 issue, when we reviewed an
LP disc entitled “Ellington Uptown” (*C'ML'4639),
we stated that “ . . . there has been considerable
clamoring among jazz enthusiasts for the issuance
of good jazz on wide range records.” In the same
issue we announced, editorially, the availability of
“Dixieland Jazz” (Vol. I) issued by Audiophile
Records, commenting at some length on its excep'
tional fidelity and wide range, but not on the music
at all.

We can now announce the availability of the
three 78 rpm micro groove records listed above, one
by Harry Blons’ Dixieland Band and two by “Red”
Nichols and His Band. They are surely up to Volume
I fidelity'wise, and they are good jazz. The pur'
chaser will find, however, that Audiophile is an apt
name for the publisher of these discs, because not
one word appears on the jackets or labels about the
personnel of the bands; as a matter of fact, we had
to look in an old copy of Hot Discography to dis'
cover that Loring Nichols was, in fact, the “Red”
Nichols with whom most jazz; fans are familiar. All we
can tell you is that Nichols’ band seems to consist
of a bass saxophone, clarinet, piano, guitar, drums,
and alto saxophone, along with Nichols’ cornet;
Blons’ outfit is similar but has no bass sax, but in'
eludes a trombone and possibly a bass viol.

The playing is relaxed; the boys seem oblivious
to what must have been considerable care on the
part of the recording engineer to have captured
with such remarkable fidelity all the sound on these
discs. Plenty of “kicks” here, both for the jazz and

PAGE 3

’THE WORLD'S RECORD SHOP**

indlcatei LP 8 S^ rpm.
0 indicate! 45 rpm.

july The N ew R ecords 1953

hi-fi fans. Recording characteristic are given on
the jackets of these discs.

We reiterate that these are 78 rpm microgroove
discs, and therefore must be played with the same
stylus used for LP records (.00 1"). J-

Mahler: Symphony No. 1 in D (“The Titan ).
Symphony Orchestra of Radio Berlin conducted
by Ernest Borsamsky. 1-12" disc (*UR-URLP-
7080) $5.95.

Mahler: Symphony No. 1 in D (“The i itan ).
Symphony Orchestra of Radio Berlin conducted
by Ernest Borsamski. 1-12" disc (*VAN-VRS-
436) $5.95.

Mahler: Symphony No. 1 in D (“The Titan’ ).
Pro Musica Symphony, Vienna, conducted by
Jascha Horenstein. 1-12" disc (*VX-PL-8050)
$5.95.

For a long time Mitropoulos has had the field
to himself with the Mahler First (*C-ML-4251),
and it has been considered a good performance.
Now we have three new discs of this work, repre-
senting two new versions. How Urania and Van-
guard appear with the same performance is more
than we can fathom, but a careful check convinces
us these are one and the same. In the matter of
reproduction, however, Vanguard has transferred
the tape to disc with a far more brilliant effect than
Urania. On our machine, the Vanguard was shrill
and strident, and actually unpleasant in many pas-
sages; Urania transfers at a lower level, and on most
machines this disc will sound better. As for Vox,
their disc sounded best of all, and we were inclined
to prefer Horenstein’s reading. Borsamsky does this
work in a more straightforward manner, with less
posturing, heroics, and rhetoric, but Horenstein is
nevertheless more convincing to our ears. If you
like Mahler tightened up a bit, take Borsamsky; if
you like it played “eloquently” and with plenty of
breadth, Horenstein will thrill you. Comparing these
two with Mitropoulos, Mitropoulos appears more
tightly knit and more dramatic than either of them,
but his reproduction is not as vivid as the newer
discs.

This is a highly interesting score and one which
those who generally do not care for Mahler, and
his later and larger works, may well enjoy. All of
the recordings have adequate program notes which
convey an idea of the score, the story of the ironic
funeral march third movement, and other of Mahler’s
ideas. Anyone who likes a wild and heroic ending
to a symphony will find a super creation as the crown
of this symphony, and here again Horenstein separ-
ates the threads better than the others. S.

Scriabin: Poeme d’Extase, Op. 54. One side, and
Loeffler: A Pagan Poem, Op. 14. Paris Philhar-
monic Orchestra conducted by Manuel Rosenthal.
1-12" disc (*CL-P-8188) $4.98.

Capitol does us a fine service by recording Loef-

fler’s Pagan Poem. Charles Martin Loeffler came from
Alsace to America as a young man, and here devel-
oped a sensitive and original talent. He was a pains-
taking craftsman; the Pagan Poem, for example,
was originally written for a small chamber group of
piano, viola, bass, five woodwinds and five brass and
later arranged for piano and three trumpets. After
experimental performances with these instrumenta-
tions, the composition was finally expanded to sym-
phonic proportions and thus presented for the first
time late in 1907 by the Boston Symphony Orches-
tra. Loeffler played first violin with the Boston or-
chestra for more than a score of years.

A Pagan Poem was suggested to the composer by
the two love songs of the eighth Eclogue of Virgil,
sometimes called “The Sorceress.” The poetry tells
of a Thessalian girl’s attempt to win back her lover
through magic spells and incantations, and of her
warm and exultant success.

The Russian, Alexander Scriabin, was a deeply
thoughtful person, seriously concerned with the
philosophical problems of life. Through music, he
felt, the emotional aspects of his philosophy could
best be communicated, and in The Poem of Ectasy
he sought to describe the joy of unrestrained creative
ability, his highest goal. In this subjective realm he
wisely avoided too clearly defined a program for
the music. He gave the music three divisions, but
was not content to rely on the music alone to trans-
mit the message, so he wrote a lengthy poem to
accompany the orchestral composition.

Manuel Rosenthal, talented conductor of the Paris
Philharmonic, performs this music with distinction
and it is recorded excellently. Both works appear on
LP for the first time. The jacket notes sum it up
well by saying: “The two works in this album have
come from opposite sides of the globe, yet they are
strangely similar in their titles and in their lush
and sensuous nature — and they made their orchestral
debuts only a year apart. Their two widely separated
composers came by different routes to a single aspira-
tion: to express strong passion in a fresh manner,
without the cloying sentimentality of the day.” S.
Swanson: A Short Symphony. One side, and Kup-

ferman: Little Symphony. Vienna State Opera

Orchestra conducted by Franz Litschauer. 1-12"
disc (*VAN-VRS-434) $5.95.

We have to thank the discerning Franz Litschauer
for making available the first recordings of works
by these two important American composers, and
we salute Vanguard for importing the tapes and
releasing this LP disc so promptly on this side of
the Atlantic. Now Swanson and Kupferman will
not be just names to music lovers in our country —
samples of their work in the field of symphonic
music are now at hand for our study and appraisal.

Howard Swanson was born in Atlanta, Georgia,
in 1899. A graduate of the Cleveland Institute of
Music, he was awarded a Rosenwald Fellowship and
studied with Nadia Boulanger in Paris. He returned

• Indicate* LP 88*3 rpm.
0 indicate* 45 rpm.

H. ROYER SMITH COMPANY

PAGE 4

JULY

The N ew R ecords 1953

to the United States in 1941 and since that time
has devoted himself entirely to composition. He has
composed in many forms, but he is best known for
his songs and the present A Short Symphony. This
latter work dates from 1948 and was first performed
by the New York Philharmonic'Symphony under
Mitropoulos during November 1950. Since that time
it has appeared on the programs of nearly every
important symphony orchestra in this country. It is
a great favorite of Charles Munch and Eugene
Ormandy and has appeared on their programs a
number of times. At a recent performance by the
Philadelphia Orchestra, the distinguished writer on
musical subjects, Charles O’Connell, said in his
notes for this concert: “the Short Symphony is often
song-like; indeed, one eminent critic has referred to
Swanson as ‘an American Faure.’ His ideas of har-
mony are individual, perhaps daring, certainly not
drastic and nowhere in the Short Symphony is there
evidence that he has employed harmonic novelty for
its own sake.”

Meyer Kupferman was born in New York in 1926.
He graduated from the High School of Music and
Art in 1943. At present he is teaching composition
and chamber music at Sarah Lawrence College.
Despite his youth he has already to his credit a
number of compositions in various forms: orchestral,
choral, operatic and chamber music. T he Little
Symphony was commissioned by Daniel Saidenberg
and was given its first performance under his direc-
tion during November 1952. During February of the
present year it was most successfully performed by
the Los Angeles Symphony under the direction of
Alfred Wallenstein. This work has been called
“The American ‘Classical Symphony.’ ” Like Proko-
fiev’s masterpiece, Kupferman’s opus is a modern
throwback to the era of Mozart and Beethoven.

Certainly both of these compositions are worthy
of being recorded, and we are happy to be able to
bring them to the attention of our readers. R.
Schonberg: A Survivor from Warsaw, Op. 46
and Schonberg: Kol Nidre, Op. 39. Hans Jaray
(narrator), Academie Chamber Chorus and Vien-
na Symphony Orchestra conducted by Hans Swar-
owsky. One side, and Schonberg: Chamber
Symphony No. 2 (1939). Vienna Symphony
Orchestra conducted by Herbert Hafner. 1-12"
disc (*C-ML-4664) $5.45.

One of the most valuable Schonberg LP’s yet
released, this one contains three of his most sig-
nificant works. The Second Chamber Symphony,
started in 1908 but unfinished until 1939, has
much of the spirit of the Serenade for Septet and
Baritone Voice — but without the latter’s intensity
or economy, being more an example of the style
that was to reach its full fruition in that Serenade.

A Survivor from Warsaw (1939), a cantata for
the Koussevitzky Foundation, text by the composer,
relates the tale of a survivor of a Nazi death march;
Kol 'H.idre (1946), of course, is based upon the

traditional Jewish prayer. Both are taut with a
dramatic cogency that creates an atmosphere at times
almost suffocating. Rarely has there been a fusion of
recitation and music as organically correct as these.
Orchestrally, these works represent what is probably
the most direct and effective scoring Schonberg has
ever executed. Performances, throughout, are expert
and apparently flawless. C.

Folksongs from the British Isles (arr. Gibbs). West-
minster Light Orchestra conducted by Leslie
Bridgewater. 1-12" disc (*WEST-WL-4003)
$4.95.

CONTENTS: I Am the Boy for Bewitching
Them, Over Here, Planxty Kelly, Get Up Early,
Gentle Maiden, Sentry Box (Irish); Ballad of Tar'
row (Scottish); Have Tou Seen but a White Lillie
Grow, Drin\ to Me Only, When Dull Care, Waly
Waly, Oyster Girl (Old English); Hares on the
Mountain, Lord Rendal, Green Broom (Somerset).

Music by Strauss and Gungl. Westminster Light
Orchestra conducted by Leslie Bridgewater. 1-12"
disc ( *WEST-WL-4004) $4.95.

CONTENTS: Artists Life, Ritter Pazmann —
Czardas (arr. Goehr), Pizzicato Pol\a, Fledermaus —
Walzer (arr. Goehr) (Strauss); Soldatenlieder Wab
zer, Amoretten Tdnze, Hydropathen Walzer, Casino
Tanze (Gungl).

Entering the field of recorded light music, West-
minster brings to that phonographic area the high
standards of quality and taste that it has exercised
in the classical field. It has brought, too, an excellent
high fidelity recording technique which generally,
heretofore, has been restricted to classical recordings,
rarely being extended to semi-classical discs. Mainly,
however, it has provided a kind of light music
which is the product of untainted old world color
and culture, played by musicians intimately familiar
with this kind of pleasure, which has rarely been
made available to American audiences.

The Strauss-Gungl disc (Gungl was a Viennese
composer who, having spent a good part of his life
in England, “transmitted the Viennese gaiety to the
British Isles”) is executed by a small group whose
sound is relaxed, intimate and vastly removed from
the industrial Boston Pops style. Fol\songs of the
British Isles is a fresh and unpretentious presenta-
tion of native tunes the simplicity and originality of
which are a change from most light music recordings
in which the niceties are usually invisible under
orchestral mascara. This is music for those who
wish to relax but not to go to sleep. G.

Shostakovitch: Ballet Russe. One side, and Tchai-
kovsky: Serenade Melancolique and Tchaikovsky:
Symphony No. 1 in G minor, Op. 13 — Andante.

Columbia Symphony Ofchestra conducted by
Efrem Kurtz. 1-12" disc (*C-ML-4671) $5.45.
The Ballet Russe, which dates from 1950, is a
dance suite that Shostakovitch is said to have written

PAGE 5

"THE WORLD’S RECORD SHOP"

Indicates LP 88 ^ rpm.
0 indicates 46 rpm.

JULY

The N^ze; R ecords

1953

to attract as wide an audience as possible. It there'
fore abounds in many lively and tuneful melodies —
just the sort of gay music that anyone may enjoy.
It probably won’t add anything to his musical stature,
but it will certainly attract a number of listeners who
might pass it by if it were a bit more profound.
This is the first recording of Ballet Russe, and Column
bia is to be congratulated for assigning this record'
ing to the brilliant director of ballet music, Efrem
Kurts. Mr. Kurts gives it everything he has; and
that is a lot, as those who are familiar with his
many other ballet music recordings well know.

The pleasing Tchaikovsky selections that occupy
the reverse side of this disc are highly acceptable,
but it is the dassling recording of Ballet Russe that
will put this record on the best sellers list.
MacDowell — arr. Camarata: Woodland Sketches,
Op. 51. Camarata and His Orchestra. MO" disc
(*D'DL'4059) $2.50.

Camarata has made a highly acceptable orches'
tral arrangement of the complete Woodland S\etches
by the American composer, Edward MacDowell, and
with his splendid little orchestra has recorded it.
This suite is composed of ten short selections, the
best known of which are To a Wild Rose, In Autumn
and To a Water Lily. If you are in the mood for
such pleasing melodic music, the present inexpen'
sive little disc should prove attractive.

Gypsy Songs. Antal Kocze (“King of the Gypsies”)
and His Band. MO" disc (*WEST'WL'3001 )
$3.95.

CONTENTS : Hora; Sad Sunday; Romance le Lac
and Blas\ovicz Walzer; Hungarian Song ; Magyar
Melody.

This charming little LP disc contains some Hun'
garian gypsy music par excellence! It is played by
Antal Kocze and His Band, which has been the
featured attraction at the famous Monseigneur Bar
in Vienna for many years. This small cafe is
known to both tourists and natives, who crowd it
nightly principally to listen the music of this unique
ensemble consisting of two violins, viola, violoncello,
contrabass, piano and cymbalom.

Rhapsodies for Piano and Orchestra. Morton Gould
(piano) conducting His Orchestra. M2" disc
(*C'ML'4657) $5.45.

CONTENTS: Fascinatin Rhythm, Someone to
Watch Over Me (Gershwin); All the Things T ou
Are (Kern); My Ship (Weill); Waltz Rhapsody
(from “Oklahoma”), A Wonderful Guy, Hello
Young Lovers, It's a Grand "Flight for Singing, If
I Loved You (Rodgers); I Cant Get Started (Duke).

The ingenious Morton Gould has taken several
popular songs and arranged them for piano and
orchestra in the form of rhapsodies. Mr. Gould then
seats himself at the piano and directs his orchestra
in thrilling performances of these intriguing works.
We found them quite fascinating — perhaps you
will too.

Dvorak: (4) Slavonic Dances. One side, and
Enesco: (2) Rumanian Rhapsodies. Indianapolis
Symphony Orchestra conducted by Fabien Sevit'
zky. M2" disc (*CL'S'8209) $5.72.
CONTENTS: Slavonic Dances Flo. 1 in C, Op.
46; F{o. 2 in E minor, Op. 46; Flo. 4 in F, Op. 46;
Flo. 8 in G minor, Op. 46 (Dvorak). Rumanian
Rhapsodies Flo. 1 in A, Op. 11; Flo. 2 in D, Op. 11
(Enesco).

Fabien Sevitzky is an ideal conductor of this
Dvorak and Enesco music, and he has achieved
performances with his Indianapolis Symphony that
will be hard to equal. Fine reproduction is an
added feature of this attractive LP disc.

Gershwin: An American in Paris. One side, and
Gershwin: Rhapsody in Blue. Elite Concert
Orchestra conducted by Max Marschner, with
Gerhard Stein (piano). M2" disc (*AL'AL'
3063) $2.95.

Here is a very good inexpensive LP disc con'
taining two of Gershwin’s most popular pieces.
As such we do not hesitate to recommend it.

CONCERTO

Liszt: Concerto No. 1 in E-flat. One side, and
Liszt: Hungarian Fantasia. Claudio Arrau (pi'
ano) with the Philadelphia Orchestra conducted
by Eugene Ormandy. M2" disc (*C'ML'4665)
$5.45.

Another recording of the so'called “Triangle”
Concerto follows hard on the heels of the Iturbi issue
of a few months ago (*V'LM'1734). This time we
have a better orchestra, a better conductor, and a
better recording balance. There may be something
to be said for the soloist conducting his own accom'
paniment, but in most cases there is a lot more to be
said for a good conductor who knows his trade to
conduct the accompaniment for any soloist. In this
case, we have just such a conductor, and he is in
close rapport with his soloist. The orchestra plays
with the flair you expect from this renowned group,
and the results are better than Iturbi managed in
the dual job. There are many noticeable points when
one compares these two discs. The matter of balance
between orchestra and soloist is not alone the engi'
neer’s concern in a recording — the conductor still
has plenty to do in this respect. And the matter of
balance within the orchestra is the conductor’s busi'
ness too; you can hear good examples of this in the
little scherzo. This corresponds to the third move'
ment; in this work, it is the third section, wherein
the triangle gets to work and provides the issue which
led to the nickname of the concerto. In this section
Ormandy’s accompaniment is perfectly proportioned
and adjusted. The quality of piano tone is notably
fine on both sides of this disc. We would give the
present disc top billing among the many recorded
versions, for Arrau plays with demoniac precision

• Indicates LP rpm.

0 Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 6

JULY

The Nw Records

1953

and vigor.

Arrau performs the Hungarian Fantasia with the
same bravura that he does the concerto, and Ormandy
and the orchestra are in there pitching with all their
might and main. This, to us, was an even more
thrilling workout than the concerto — some of the
piano passages which Arrau tosses off are breath'
taking. Here is a disc which will appeal to those
who like brilliant technical display; they will get it
from Arrau, with some extra thrills thrown in by
Ormandy and his boys. S.

Elizalde: Concerto for Violin and Orchestra. Chris'
tian Ferras (violin) with the London Symphony
Orchestra conducted by Gaston Poulet. 1" 10" disc
(*L'LS'564) $4.95.

Federico Elizalde was once well known to a public
different from that which, gathered at the 1936
Festival of International Society of Contemporary
Music, heard a Sinfonia Concertante by this repre'
sentative of Spain. It is a far cry from that distin'
guished occasion to those numerous appointments
kept by a delighted radio and phonograph public
with “Fred Elizalde and his Music,” away back in
the early days of British broadcasting. In 1931 he
threw up this very profitable career for that of a
composer of serious, large'scale works. He studied
in his native Spain with Falla and Perez Casas, and
in San Francisco with Alfred Hertz. Elizalde now
lives in France.

The Violin Concerto is in three movements. It has
the spirit of Spain in it, but is not dependent on
native material. The scoring is bright and the violin
writing is attractive, with but a modest touch of
what we might call the modern idiom. Harmonically
it is rather conventional; for the most part we would
deem it a work mostly in the romantic vein. London
breaks the second movement, an occasional habit
of theirs, which is justified in this case only because
it prevents coupling another piece with this work.
Christian Ferras is a talented young fiddler who plays
this work with technical proficiency and an obvious
belief in it, a greater belief than his accompanying
forces. We would not hail this concerto as another
in the procession of great violin concertos by Men'
delssohn, Beethoven, Brahms, through Prokofiev; but
you may find it diverting on a warm summer evening.

S.

CHAMBER MUSIC $ 4 ^

Beethoven: Quartet No. 14 in C-sharp minor, Op.
131. The Paganini Quartet. 4'7" discs in box
(0V'WDM'1736) $5.14. M2" disc (*V'LM'
1736) $5.72.

And now we have another recording of Beetho'
ven’s Quartet, Opus 131. The competition will be
Columbia’s recording by the Budapest Quartet. We
might spend considerable space making a written
comparison, but the net result would only be our
personal opinion. As both versions are readily avail'

able at your favorite record shop, we feel that
it is better if you will make your own comparison.
If this is not practical, you won’t go far wrong no
matter which recording you select; both the Buda'
pest and Paganini ensembles are top'flight musical
organizations.

Rossini: Sonata for Violin, Violoncello and Double
Bass. And Concerto in C minor for Oboe and
Strings (Anon.). One side, and Cambini: Con-
certo in G for Piano and Strings. And Bonporti:
Recitative for Violin and Strings. Virtuosi di
Roma directed by Renato Fasano. M2" disc
(*D'DL'9674) $5.85.

The Virtuosi di Roma, referred to by Toscanini
as “the greatest instrumental ensemble of this age,”
needs neither introduction nor praise. Their reputa'
tion has been as brilliantly sustained as it was brib
liantly established. It is therefore necessary only
to report that the anonymous Oboe Concerto is the
one which on two other and inferior recordings is
credited to Benedetto Marcello; the Rossini work
displays that composer's theatrical qualities in clas'
sical form; the Cambini Concerto is a strict eighteenth
century work with anachronistic romantic moments;
and the Bonporti Recitative is one of those remark'
able string pieces which sounds as dateless as it does
vital.

Schubert: Rondo Brilliant in B minor, Op. 70.

Joseph Szigeti (violin) and Carlo Bussotti (piano).
One side, and Beethoven: Sonata No. 10 in G,
Op. 96. Joseph Szigeti (violin) and Mieczyslaw
Horszowski (piano). M2" disc (*C'ML'4642)
$5.45.

Beethoven: Sonata No. 1 in D, Op. 12, No. 1.
One side, and Beethoven: Sonata No. 10 in G,

Op. 96. Jean Fournier (violin) and Ginette Doyen
(piano). M2" disc (*WEST'WL'5176) $5.95.

Beethoven: Sonata No. 6 in A, Op. 30, No. 1.
One side, and Beethoven: Sonata No. 4 in A
minor, Op. 23. Jean Fournier (violin) and Ginette
Doyen (piano). M2" disc (*WEST'WL'5164)
$5.95.

Mozart: Sonata No. 33 in F, K. 377. One side, and
Mozart: Sonata No. 22 in A, K. 305 and Mozart:
Sonata in E-flat, K. 58. Walter Barylli (violin)
and Paul Badura'Skoda (piano). M2" disc
(*WEST'WL'5145) $5.95.

Mozart: Sonata No. 32 in B-flat, K. 454. One side,
and Mozart: Sonata No. 41 in E-flat, K. 481.

Reinhard Peters (violin) and Charles Rosen
(piano). M2" disc (*L'LL'674) $5.95.

Among the batch of chamber music recordings that
has arrived recently we have grouped those listed
above, for they all contain Selections for violin and
piano. All of the Beethoven sonatas are already
available in other recorded versions. The Schubert
Rondo Brilliant in B minor, Op. 70 and the Mozart

PAGE 7

■THE WORLD'S RECORD SHOP”

Indicates LP 88 y$ rpm.
0 Indicates 45 rpm

JULY

The Nm R ecords

1953

sonatas are new items in the LP catalogs. We notice
that the number of the Mozart Sonata in E'flat, K.
481 on the London record (*L'LL'674) is given
on the label as 33; according to our information
this should be 41 and we so listed it in our heading.
We mention this just in order to save any unneces'
sary confusion.

Perhaps when LP records are not as popular as
they are at present, fewer will be issued each month
and then we will have the space to consider each
one individually as they are released; at present
all that we can do is to list them so that our readers
will know of their availability.

The Mannheim School. New Art Wind Quintet:
Murray Panitz (flute); Melvin Kaplan (oboe);
Aldo Simonelli (clarinet); Tina de Dario (bas'
soon); Robert Taylor (French horn). 2'12" discs
in album (*CLASSICAL EDITIONS CD'2010)
$11.90.

CONTENTS: Blaserquartet, Op. 8, 2s [o. 2 (Sta'
mitz); Cassazione in E'flat (Mozart); Blaser quintet,
Op. 88, No. 2 (Reicha); Blaser quintet, Op. 67,
No. 1 (Danzi).

Fran^aix: Quintette a Vent. One side, and Nielsen:
Quintet, Op. 43. New Art Wind Quintet. LI 2"
disc (^CLASSIC EDITIONS CE«2001) $5.95.
The New Art Wind Quintet, formed for the
purpose of furthering woodwind chamber music in
America, is probably the most ideal instrument for
its desire. The balance, precision and flexibility
to perform, with equal success, both classical and
modern works makes it virtually peerless.

The Mannheim School, made up of composers
who were attracted to the court of the Elector of
Palatine in Mannheim, contains some of the most
significant talent of the immediate Pre'Classical
period (early eighteenth century). The inclusion
of the Mozart work owes to the fact that the then
young Composer was somewhat influenced by this
School. Perhaps the chief value of the recording
is that instead of presenting art of the established
musical giants, whose individuality blots out, par*
tially, the qualities and exact forms of their ages,
it presents the works of talented but lesser known
composers who mirror more accurately the life,
spirit, and musical status of their time.

The Nielsen'Fran^aix disc presents Nielsen at his
finest and Fran^aix in an unusual mixture of im'
pressionism and sophisticated jazz ranging in similar'
ity from Gershwin to Stravinsky. C.

Ravel: Quartet in F. One side, and Debussy:
Quartet in G minor, Op. 10. Budapest String
Quartet. M2" disc (*C'ML'4668) $5.45.
Columbia has taken its recordings of the Ravel
and Debussy quartets by the Budapest Quartet, each
of which was originally spread over two sides of
a single LP disc (*C'ML'4091 and *C'ML'4018),
and coupled them on one LP record. The musical
results are just as good at a saving of one'half the

cost. We are very much in favor of this procedure
and we are sure that our readers will also be quite
happy about it. Perhaps the complaints that we
have heard about spreading works over two sides
that might have been placed on one have at last
reached the ears of some of the record publishers.

CHORAL 84

Gregorian Chants (Vol. 1). Trappist Monks of a
Cistercian Abbey and Benedictine Nuns Choir.
M2" disc (*PE'SPL'569) $5.95.

Gregorian Chants (Vol. 2). Monks of the BenediC'
tine Abbey (En Calcat) with Boys' Choir from
l’Alumnat. M2" disc (*PE'SPL'570) $5.95.

It would seem that the recordings to be found
on these two unusual discs were made in the various
monasteries and are reputed to have been made
during the regular devotions of the religious who
dwell there. As one listens to them, one has a
feeling that he is being given a glimpse of a way
of life in addition to hearing very beautiful and
inspiring music. In fact, he is likely to have the
feeling that he is taking part in a deeply religious
ceremony.

To us these recordings were much more than
just studio recordings of Gregorian Chants. It may
have been our imagination, but they seemed to be
surrounded with a mystical atmosphere of a highly
religious nature.

Rossini: II Barbiere de Siviglia (complete). (Sung
in Italian). Mercedes Capsir (soprano); Dino
Borgioli (tenor); Riccardo Stracciari (baritone);
Supporting Cast, Chorus and Milan Symphony
Orchestra conducted by Cav. Lorenzo Molajoli.
3-1 2" discs in album (*C'EL'l) $10.10.

Verdi: Rigoletto (complete). (Sung in Italian).
Mercedes Capsir (soprano); Dino Borgioli (tenor);
Riccardo Stracciari (baritone); Supporting Cast,
Chorus and Orchestra of La Scala (Milan) con'
ducted by Cav. Lorenzo Molajoli. 2' 12" discs in
album (*C'EL'2) $7.25.

The passage of years can do strange things to
one's original impressions. On hearing these two
reissues of, primarily, the art of Riccardo Stracciari,
one time Metropolitan stalwart and later a principal
with the Chicago Opera Company, this reviewer was
amazed. Earlier (fifteen to twenty years) impressions
were that here were superior performances of the
roles of Rigoletto and Figaro, but viewed (as it were)
in the cold light of 1953 one is confronted with the
melancholy fact that they are no more than ordinary.

To be sure, Stracciari was no longer young (he
made his Metropolitan debut in the season 1906/07)
when these records were made. Nonetheless one

• indicates LP 88y£ rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE S

JULY

The New Records

1953

would at least expect the art to hold up despite the
passing years, but not so; the performances are in
no way exceptional. Rigoletto is presented with little
imagination and, on several occasions the gulping
and sobbing are in very questionable taste — the
jester was a wicked man, but certainly Verdi did not
conceive him as a maudlin figure. Others in the cast
of this recording — with the exception of Mercedes
Capsir, whose sparkling vocalization is still exciting —
are run of the mill.

There is not much to commend Commendatore
Stracciari's Figaro, either. Here again a lack of taste
spoils what is essentially a real man — Rossini’s Figaro
is not just another operatic buffoon as he becomes
here. Again it is Capsir who saves the performance
from being completely bad.

These two reissues may be justified from an
historical angle, although even that is doubtful in
this writer’s mind. The quality of the recorded
sound is poor (the original 78’s date from the late
Twenties or early Thirties), and thus, despite the
very low prices, the prospective purchaser is advised
to hear the sets before laying out his money. A
libretto is included but none of the historical data
on the recording and the artists which would have
been interesting, is furnished. W.

"Of Gods and Demons.” George London (bass'bari'

tone) with orchestral accompaniments. LI 2" disc
(*C'ML'4658) $5.45.

CONTENTS: Das Rheingold — Abendlich strahlt
der Sonne Auge (Wagner); Die Wal\ure — Wotan’s
Farewell & Magic Fire Music (Wagner); Damnation
of Faust — Mephistopheles’ Serenade (Berlioz);
Faust — The Calf of Gold (Gounod); M efistofele —
Ecco il mondo (Boito); The Demon — Do not weep,
my child (Rubinstein); Song of the Flea (Mous'
sorgsky).

There is a growing tendency on the part of record
companies to give fancy names (in the same manner
as a collection of essays) to the assembled items on
an LP disc. Thus we have “New Year’s Day Con'
certs;” “Ballet and Bizet” (a particularly inept
effort, incidentally); and now a fanciful Of Gods
and Demons. The “god” in this case is our old friend
Wotan in a notable excerpt from Das Rheingold.
This is followed by the more familiar finale to Die
Wal\ure. Both are very impressively sung, for
George London is the possessor of a rich basso'
cantante that he uses with taste and intelligence.

Less happy interpretively, although still very well
sung, are the excerpts from La Damnation de Faust,
Mefistofele and Faust. These three famous operatic
devils require, for their proper and convincing pro'
jection, in addition to a flexibility of temperament,
a lightness of touch that London does not yet
possess. In addition, he is tangling horns (literally
and figuratively) with some of the greatest singers
of all time who have preserved their versions of the
music — Plan^on, Journet, and Chaliapin (among

the older ones) and Panzera, Neri and Christoff in
this present generation. One is glad to note the use
of the chorus in the Berlioz and Gounod numbers.

The recording of all but the Rubenstein excerpt
is very good. This last, recorded in this country,
seems small and far away by comparison with the
rest. Columbia, as usual, has supplied the absolute
minimum as regards notes and comment. W.

Donizetti: Lucia di Lammermoor — Scena della
pazzia (Act II). (Sung in Italian). One side, and
Thomas: Hamlet — Scene de Folie (Act IV).
(Sung in French). Mado Robin (soprano) with
l’Orchestre de la Societe des Concerts du Con'
servatoire de Paris conducted by Richard Blareau.
MO" disc (*L'LS'676) $4.95.

Mad scenes used to be a veritable passion with the
older operatic composers — Donizetti and Bellini are
two who come to mind — but there were others,
notably Ambroise Thomas, who supplied at least one
of the more famous Scenes de Folie. The reason for
the numerous mad scenes is not hard to find — there
were singers in the old days (i.e., early and middle
19th century) who had magnificent voices and such
scenes gave them an opportunity to vocalize all over
the place, as it were, without anyone bothering too
much — they were supposed to be crazy!

Nowadays there are not so many gifted singers,
and all mad scenes, with the exception of the classic
in Lucia di Lammermoor are viewed very dimly.
Mile. Mado Robin, the possessor of a remarkably
pure and agile coloratura soprano, essays with con'
sidcrable success two of these scenes, replete with all
the vocal acrobatics, and battles the orchestra’s first
flutist to a draw.

Mado Robin is undoubtedly one of the better
coloraturas singing today, and she works her way
through both pieces in an manner that leaves no
room for adverse criticism. Production, pitch and
technique are good, accurate and musical. She is
accompanied by the Paris Conservatory Orchestra
under Richard Blareau, who obviously understands
his role in the proceedings, and his work is sans peur
et sans reproche.

This is obviously a record for admirers of florid
singing; it is supplied here, full meausre, pressed
down and running over. Copious notes are supplied,
as is good recording. W.

Handel: Giulio Cesare (complete). (Sung in Itah
ian). Soloists, Akademiechor and Pro Musica
Chamber Orchestra (Vienna) conducted by Hans
Swarowsky. 2' 12" discs in album (*VX'PL'8012)
$11.90.

Information regarding the operas of Handel is
rather sparse. They have been considered virtually
unsingable, at least in their original keys, for some
time, and this difficulty, colipled with their essentially
static nature (opera seria ), have kept them from
the modern stage. First produced in February of
1724, Giulio Cesare was a resounding success and

PAGE 9

"THE WORLD'S RECORD SHOP"

indicates LP ZZy 3 rpm.
0 indicates 45 rpm.

JULY

T he NW; R ccords

1953

remained popular for over fifty years. A truncated
modern version was given in New York (1944) with
more than passing success, and the music was then
described as “deeply moving and incessantly inter'
esting.”

It is a pity that Vox did not see fit to give some
details on this recorded performance, such as who
arranged the music, what transpositions were made
and other facts that would aid the listener’s under'
standing of, and consequently his pleasure in, the
really wonderful score.

Be that as it may, here is a first recording of an
opera very few, if any of us ever expected to hear.
In the title role (this one obviously transposed)
is Otto Weiner. He sings well, with exceptionally
clear diction and the dramatic recitatives are par'
ticularly well delivered. As Cleopatra, Elisabeth
Roon exhibits her clear light soprano to good advan'
tage and the wonderful aria V'adoro, pupille comes
off very well indeed. Phil Curzon is the Tolomeo
and Herbert Handt the Sextus. Both prove more than
adequate.

Dr. Hans Swarowsky directs a performance that
has purpose and style. His choice of tempi is un'
usually just, and there is an air of conviction about
the entire production. The recording is first'rate
and the text is furnished, although there are certain
deviations from it that are somewhat confusing. W.

Operatic Choruses. Chorus of the Wurttemberg
State Theatre and Wurttemberg State Orchestra
conducted by Ferdinand Leitner. 140" disc (*D'
DL'4056) $2.50.

CONTENTS: Fidelio — Prisoners’ Chorus (Beet'
hoven); Rienzi — Chorus of the Messengers of Peace
(Wagner); Der Freischiitz — Chorus of Huntsmen;
Chorus of Bridesmaids (Weber).

The excellent chorus of the Wurttemberg State
Theatre sings these choral operatic selections in a
most acceptable manner. They have been well re'
corded, and this disc is a fine value at its modest
price.

"Melba.” Patrice Munsel (soprano) with orchestra
and chorus, taken from the sound track of the
motion picture, “Melba.” 3'7" discs in box
(0V'WDM'7O12) $3.99. 140" disc (*V'LM'
7012) $4.67.

CONTENTS: Romeo et Juliette — Je veux vivre
dans ce Reve (Gounod); II Barbiere di Seviglia — Una
voce poco fa (Rossini); Le "FJozze di Figaro — Voi
che sapete (Mozart); Daughter of the Regiment —
Chacun le sait (Donizetti); La Tosca — Vissi d’arte
(Puccini); La Traviata — Libiamo, libiamo (Verdi);
Ave Maria (Bach'Gounod); Home, Sweet Home
(Payne'Bishop); A uf Flilgeln des Gesanges, Op. 34,
No. 2 (Mendelssohn); Lucia di Lammermoor — II
dolce suono mi colpo di sua voce (“Mad Scene”)
(Donizetti).

Whether you have seen “Melba” on the screen

or not, there is no reason why you should not enjoy
Miss Munsel’s singing of the many famous selections
to be found on the present LP disc. These recordings
were taken from the sound track of the film. We
do not claim that they are as good as if they were
individual studio recordings, but we found them
highly satisfactory and do not hesitate to recommend
them.

"The Triumphes of Oriana” (Collection of 32
Madrigals dedicated to Queen Elizabeth I, edited
by Thomas Morley). The Randolph Singers con'
ducted by David Randolph. 242" discs in album
(*WEST'WAL'212) $11.90.

In this extraordinary album, The Triumphes of
Oriana, Westminster has made available an admirable
cross'section of the work of the leading Elizabethan
composers. Represented are Thomas Morley, Weeb
kes, Wilbye, Tomkins, Pilkington and Vautor as
well as a host of lesser known writers such as Ellis
Gibbons (the elder brother of the famous Orlando),
Bateson, Greaves, Farmer, Hilton, Robert Jones and
others. There are four famous composers of the
time not represented — Byrd, Orlando Gibbons, Far'
naby and Dowland.

The Triumphes of Oriana was originally published
in 1601 and was edited by Thomas Morley; the
purpose was to honor Queen Elizabeth. The work
consisted of twenty'five madrigals but this record'
ing, comprising some 323 pages of music, includes
in addition to the original twenty'five, seven other
madrigals received too late for publication in the
original volume. The enterprising conductor of the
singing group, David Randolph, is responsible for
the first complete collection of Oriana madrigals, for
it was he who discovered the existence of the other
works and tracked them down.

With such an embarrassment of riches it is diffi'
cult to give a clear picture of the delights of this set.
There is Morley, the musical incarnation of the spirit
of “Merrie England,” wholesome and breezy; and
Thomas Weelkes, the closest of all the English
madrigalists to the Italians, who is represented by
the incomparable As Vesta was from Latmos Hill
descending. And what of John Wilbye, perhaps the
finest of all English madrigalists, whose dazzling brib
liance and sheer perfection of workmanship are
unique? Or Thomas Tomkins, the daring and power'
ful harmonist? Lack of space unfortunately precludes
further discussion, but be assured that the general
level of inspiration is very high.

The Randolph Singers are a group of six excellent
voices that have been welded into an artistic entity
at once musicianly and scholarly. Their work is
characterized by a precision and tonal accuracy that
does full justice to the work at hand.

As is usual with this paragon of recording com'

• Indicates LP 83 rpm.
^ indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 10

JULY

T he Nw R ecords

panies, there are notes on the collection, texts and
informative notes on each madrigal, plus pictures of
the performing artists. The album itself is an ex'
tremely attractive one and, since the recording is of
a superior order, the set can be recommended without
reserve. W.

Mozart: Motet, K. 165 (“Exsultate jubilate”).
Elisabeth Schwarzkopf (soprano) with the Phil'
harmonia Orchestra conducted by Walter Suss'
kind, with George Thalben^Ball (organ). One
side, and Mozart: II Re Pastore — L’Amero, saro
costante. And Mozart: Die Entfiihrung aus dem
Serail — Welcher Kummer (recit.); Traurigkeit
ward mir zum Lose (aria). Elisabeth Schwarzkopf
(soprano) with the Vienna Philharmonic Orches'
tra conducted by Josef Krips. And Mozart:
Warnung, K. 433. Elisabeth Schwarzkopf (so'
prano) accompanied by Gerald Moore (piano).
M2" disc (*C'ML'4649) $5.45.

Last month a Mozart Recital by Hilde Gueden
was issued by London and it contained several
of the items recorded here. The wonderful motet
Exsultate jubilate was the principal work there,
as here, and while the recording on the present disc
is more acceptable (there was blasting on the London
record) the singing is not nearly as good. Elisabeth
Schwarzkopf has a large voice, a dramatic soprano
in fact and, because of this, she achieves a heaviness
of sound that is unbecoming. The joyousness is far
too restrained here, and there is a lack of spirit
that may be due, in part, to the Schwarzkopf tem'
perament; but some of it may also be accounted for
by the nature of her voice, exceptionally fine as
it is (for other music).

The same strictures apply to the excerpts from
II Re Pastore and Die Entfiihrung, both of which
require a lighter touch and more flexibility to be
really convincing. The song Warnung is, perhaps,
the most successful, but it only lasts a little under
three minutes.

And speaking of time, recorded time that is, the
London disc referred to above was a tendnch affair
and contained as much, if not more, than this twelve
inch Columbia! And if that were not all, one strongly
suspects this Mozart Recital of being dubbed from
78 rpm records, although no mention is made of
such a procedure. There is some suspicious surface
noise on occasion, but the overall quality of recorded
sound is not too bad.

The disc, however, must be listed among the
poorer offerings of the year both artistically and
monetarily. W.

Schubert: Rosamunde, Op. 26 (complete). Hilde
Roessel'Majdan (contralto), Vienna Akademiechor
and Orchestra of the Vienna State Opera con'
ducted by Dean Dixon. M2" disc (*WEST'WL'
5182) $5.95.

The music Franz Schubert wrote for Helmina von
Chezy’s “drama,” Rosamunde, Princess of Cypress,

1953

consists of ten assorted entr’actes, melodies, choruses
but no overture — and thereby hangs a tale. Accord'
ing to an (unreliable) contemporary account, the
overture used on the occasion of the first performance
was that written for another unsuccessful play Ah
fonso and Estrella. Dr. Alfred Einstein believes that
the overture used was that for the opera Z auber<
harfe — the one now popularly known as the Rosa'
munde overture. In all events, Westminster and
Dean Dixon use the Alfonso and Estrella piece thus
spoiling the set for at least one listener, for this
overture is a rather dull affair when compared with
the utterly delightful Zauberharfe.

Nevertheless, the balance of the music, most of
which will be new to present day music lovers, is
a delight from beginning to end. The lovely Romanze
Der Vollmond strahlt is exquisitely sung by Hilde
Roessel'Majdan, and the choruses are performed in
sterling fashion by the indefatigable Akadamiechor.

Dean Dixon, the gifted American Negro conduce
tor, does a superior job with the lovely melodic music.
His grasp of the style and his unerring beat are such
as to make the disc a welcome addition to any
collection. His tempi are sane, unhurried and essen'
tially correct. The Vienna State Opera Orchestra
plays in inspired fashion, and Westminster has come
up with another fine engineering job.

If it were not for the substitution of the Alfonso
and Estrella overture for the Zauberharfe, the set
would be, in this reviewer’s opinion, virtually perfect.
The omitted overture is one of Schubert’s real gems.

W.

Recital of Bach and Handel Arias. Kathleen Ferrier
(contralto) with the London Philharmonic Orches'
tra conducted by Sir Adrian Boult. M2" disc
(*L'LL'688) $5.95.

CONTENTS: Mass in B minor — Qui sedes ad
dextram patris, misere nobis; St. Matthew Passion —
Grief for sin rends the guilty heart within; St. John
Passion — All is fulfilled, and hope to fainting souls
extended; Mass in B minor — Agnus, Dei, qui tollis
peccata mundi, misere nobis (Bach). Samson —
Return, O God of hosts; Messiah — O thou that
tellest good tidings to Zion; Judas Maccabaeus —
Father of Heaven; Messiah — He was despised and
rejected of men (Handel).

In a record of unusual interest, both musical and
vocal, Kathleen Ferrier presents four arias of Bach's
and an equal number by his great contemporary,
Handel. Much, if not all, of this material has been
recorded before, but never so sumptuously as here.
In addition to the excellent soloist, the services of
a first rank conductor (Sir Adrian Boult) and a
fine orchestra (the London Philharmonic) are en'
listed, making the offering deluxe indeed.

Miss Ferrier, whose golden contralto has never
sounded better, was obviously in fine voice for these
recordings; the listening experience is a rewarding
one. Beginning with the moving §ui sedes as dextram

PAGE II

'THE WORLD'S RECORD SHOP"

• indicates LP 88 rpm.
0 Indicates 45 rpm.

july T he New R ecords 1953

patris from the "B minor Mass," the disc moves on
to excerpts from the St. Matthew Passion and the
St. John Passion and the first side closes with an
excellently projected and memorable performance
of the Agnus Dei from the "Mass in B minor."

The second side of the disc is devoted to two
Messiah excerpts handsomely sung and two lesser
known, but none the less great arias from Samson
and Judas Maccabaeus. In this more Italianate music
Miss Ferrier is equally at home, handling the difficult
coloratura passages with ease and style.

Sir Adrian Boult and the London Philharmonic
Orchestra cover themselves with glory and provide
accompaniments that are the acme of good taste
and musicianship. London’s engineers supply a first
class recording job, and comprehensive notes are
furnished on the jacket. W.

Schlusnus Sings (Vol. 5). Heinrich Schlusnus (bari-
tone) with piano accompaniments. LI 2" disc
(*D'DL'9624) $5.85.

CONTENTS: Venetianisches Gondellied, A uf
Fliigeln des Gesanges (Mendelssohn); O \omm ’ im
Traum (Liszt); Das Er\ennen, Der Kl6c\ (Loewe);
Talismane, Die Beiden Grenadiere, Romanze (Schu'
mann); Standchen, Der Blumenbrief, An die Musi\
(Schubert).

Decca is continuing with its important project
of making Schlusnus recordings available on LP.
Those who have enjoyed the earlier releases in this
series will doubtless welcome this new one. Heinrich
Schlusnus’ art is something that deserves the widest
possible exploitation.

Chansons de Paris. Mira Jozelle with orchestra
conducted by Ben Ludlow. 1-10" disc (*WEST'
WL-3006) $3.95.

CONTENTS: Je suis belle, cheri; Ciel de Paris;
La fiancee du prestidigitateur; Hymne a I’amour;
Sur la route; France dimanche; L’ Amour est parti;
Le loup, la biche et le chevalier.

Mademoiselle from Armentieres. Line Renaud with
orchestral accompaniments. MO" disc (*VX'VL'
3190) $4.

CONTENTS: Mademoiselle from Armentieres;
Tes yeux bleus; Son coeur est amour eux; Le soir;
Tire, tire Vaiguille; Bouclette; Un oiseau chante;
Frou'frou.

Paris je t’aime. Maurice Chevalier with orchestral
accompaniments. MO" disc (*VX-VL-3180) $4.
CONTENTS: Paris je t’aime; Trinque, trinque;
Une canne et un casquette; Ah, si vous saviez;
Moi . . . j’ai garde; La chasse; Le telegramme; Peut
etre.

The three LP discs listed above should help to
satisfy the constant demand for recordings of
popular French songs — the sort of ditties that one
hears in the night clubs of the French capital.
As these three singers have had great success in this
particular field, we are very sure that their record'

ings will prove to be highly satisfactory — on this
side of the Atlantic we would say that they are
certainly in the groove ... We might mention that
the Westminster disc (*WEST'WL'3006) has be-
come a favorite of hi-fi fans because of its extremely
wide range characteristics.

Offenbach: Orphee aux Enfers (abridged). One
side, and Offenbach: La Belle Helene (abridged).
(Sung in French). Soloists, Paris Philharmonic
Orchestra and Chorus conducted by Rene Lei'
bowitz. 1 ' 1 2" disc (*REN-X'51) $5.95.

Offenbach: La Vie Parisienne (abridged). (Sung
in French). Soloists and Lamoureux Orchestra
conducted by Jules Gressier. M2" disc (*VX'
PL'21000) $5.95.

Offenbach fans will surely be pleased with these
excellent recordings of abridged versions of several
of this famous comic opera composer’s best known
works. All of the singers have been bred in the
tradition of the Parisian musical theatre, and in these
recordings they have had the benefit of able direc'
tion and the support of fine orchestras. We have
nothing but praise for the performances and the
reproduction.

Romberg: The Desert Song (abridged). Nelson
Eddy (baritone) with supporting cast, chorus and
orchestra conducted by Lehman Engel. 1-12" disc
(*C-ML'4636) $5.45.

Fine, spirited singing of Romberg’s beautiful
melodies, which seem as fresh as the day they were
written twenty'seven years ago. We welcome Nelson
Eddy’s return to records after too long an absence;
Columbia’s engineers have accorded their best ef-
forts to this disc, and we predict huge sales for it.

Chopin: Andante Spianato and Grande Polonaise
Brillante in E-flat, Op. 22. One side, and Chopin:
Variations on "La ci darem la mano,” Op. 2.

Pro Musica Orchestra (Stuttgart) conducted by
Rolf Reinhardt (piano). And Chopin: Variations
Brilliantes on "Je vends des scapulaires” of
Herold, Op. 12. Rolf Reinhardt (piano). 1-12"
disc (*VX'PL-7530) $5.95.

We have listed this LP disc under PIANO because
the piano is by far more important than the insignifi-
cant orchestral accompaniments that Chopin has
supplied for two of the three selections it contains.
The Andante Spianato and Grand Polonaise Bril'
lante is usually heard without the slight orchestral
accompaniment that the composer wrote for the
Polanaise section of this work. The “La ci darem
la mano ” Variations, written when Chopin was but
seventeen years of age, although it is the first work
to bring attention to the young composer, is seldom
heard these days. It was composed for piano and

# indicates LP rpm.

0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 12

julV

The New R ecords

1953

orchestra, but here again the orchestral part adds
little to the work as a whole. If it were not for the
brilliance of the piano variations this early piece
would have been forgotten long ago. As it is it is
primarly of historic interest. The gay display piece
based on a theme from “Ludovic” by the French
operatic composer Louis'Joseph'Ferdinand Herold is
another work which is of more interest historically
than musically.

To come to the point — the present disc will be
of particular importance to those students of Chopin
who would like to have Opus 22 played as it was
originally written and would also like to have record'
ings of two other works that are seldom heard and
are not likely to be recorded again in the near future.

We would say that Rolf Reinhardt has supplied
satisfactory performances and that the reproduction
is acceptable.

Spanish Piano Music. Jesus Maria Sanroma (piano).

M2" disc ( *PLM'PRLP' 1011) $5.95.

CONTENTS: (4) Pieces Espagnoles (“Arago'
nesa” “Cubana,” “Montanesa,” “Andaluza”) (Fab
la); El Amor Brujo — Ritual Fire Dance (Falla);
Ninerias (Suite for Piano) (Turnia).

Spanish Piano Music. George Copeland (piano).

M2" disc (*MGM'E'3025) $4.85.

CONTENTS: Cantos de Espana — Cordoba (Ah
beniz); Espana — Tango in D (Albeniz); Danza de
la Hoguera (Pittaluga); Cadena de Vaises — Serenata,
Homenaje a la Jota (Nin); Pochades Andalouses —
Tientos (Infante); Cants Magics (Mompou); Im'
presiones intimas — Planys (Mompou); Canqo I Dan'
sa No. 1 (Mompou); Juergas — Murciana (Laparra);
El Amor Brujo — Danse (Falla); Sacro'monte (Tur*
ina); Danzas Espanolas — La Playera (Granados).

Piano Music of Villa Lobos. Ellen Ballon (piano).

MO" disc (*L'LS'531) $4.95.

CONTENTS: A lenda do Cabocio; Vamos afraz
da serra calunga; N’esta rua, nesta rua; O Poli'
chinelo; Dansa do indio branco; Plantio do Cabocio;
Festa no sertao.

Hindemith: Sonata for Two Pianos, 1938. Josef
and Grete Dichler (pianos). One side, and
Martin — arr. Ansermet: Ballade for Flute. Kamil'
lo Wanansell (flute) with Collegium Musicum
Orchestra conducted by Kurt Rapf. MO" disc
(*SOT'1037) $4.

Of particular interest on this little LP disc is
the recording of the Hindemith Sonata for Two
Pianos, 1938. This recording was made by Cook
Laboratories (Stamford, Conn.) in the studio of
the Bosendorfer piano factory in Vienna. Two per'
fectly matched thirteen'foot Bosendorfer concert
grand pianos were used — pianos that are kept in
the studio as reference instruments for comparison
with new pianos as they are produced. The results
obtained by the Cook technicians are outstanding.
Here is a recording that high fidelity fans may use
to show off the quality of their reproducing instru'
ments.

Chopin: (12) Etudes. Wilhelm Backhaus (piano).
MO" disc (*L'LS'704) $4.95.

CONTENTS: Etudes No. 10 in A'flat, Op. 10,
No. 1; No. 19 in C'sharp minor, Op. 25, No. 7;
No. 18 in G'sharp minor, Op. 25, No. 6; No. 20 in
D'flat, Op. 25, No. 8; No. 21 in G'flat, Op. 25,
No. 9; No. 5 in G'flat, Op. 10, No. 5; No. 13 in
A'flat, Op. 25, No. 1; No. 14 in F minor, Op. 25,
No. 2; No. 15 in F, Op. 25, No. 3; No. 8 in F,
Op. 10, No. 8; No. 2 in A minor. Op. 10, N°- 2.;
No. 23 in A minor, Op. 25, No. 11.

Chopin: (4) Ballades. Ginette Doyen (piano).
M2" disc (*WEST'WL'5169) $5.95.
CONTENTS: Ballades in G minor, Op. 23; A
minor, Op. 38; A'flat, Op. 47; F minor, Op. 52.

Chopin: (11) Mazurkas. Guiomar Novaes (piano).
M2" disc (*VX'PL'7920) $5.95.

CONTENTS: M azur\as in D, Op. 33, No. 2;
C'sharp minor, Op. 41, No. 1; B minor, Op. 33,
No. 4; A minor, Op. 17, No. 4; B'flat minor, Op. 24,
No. 4; C, Op. 56, No. 2; A minor, Op. 59, No. 1;
C, Op. 33, No. 3; B, Op. 63, No. 1; A'flat, Op. 59,
No. 2; C, Op. 24, No. 2.

These three LP discs contain a wealth of key'
board music in the Spanish idiom, all played by able
performers and well recorded. The surface of the
M'G'M disc is not as quiet as we would like to have
it. Better listen to this one before purchasing it.

Mozart: Sonata in D, K. 381. One side, and
Mozart: Sonata in B-flat, K. 358. Vitya Vronsky
and Victor Babin (duo'pianists). M2" disc
(*C'ML'4667) $5.45.

Vronsky and Babin give delightful performances
of these two sonatas for piano (four hands), which
Mozart wrote in his teens for his sister, Nannerl,
and himself. They are light and melodious and
should have a wide appeal for those who appreciate
the better things in the literature for piano duos.

A Chopin Recital. Guiomar Novaes (piano). M2"
disc (*VX'PL'7810) $5.95.

CONTENTS: Scherzo No. 3 in C'sharp minor,
Op 39; Berceuse, Op. 57; Waltz No. 6 in D'flat,
Op. 64, No. 1 (“Minute”); Impromptu No. 2 in
F'sharp, Op. 36; Etude No. 3 in E, Op. 10; Noc'
turne No. 5 in F'sharp, Op. 15; Fantasie in F minor,
Op. 49.

Most music lovers are familiar with the recordings
of the well established pianists Wilhelm Backhaus
and Guiomar Novaes and will know what to expect
when these distinguished artists turn their attention
to Chopin. However, the French pianist, Ginette
Doyen, while well known in Europe, the British Isles
and Africa because of her several concert tours, is

PAGE 13

"THE WORLD'S RECORD SHOP"

* indicates LP 8 Sy£ rpm.
0 indicates 45 rpm.

JULY

1953

T he Records

practically unknown on this side of the Atlantic.
Miss Doyen is a graduate of the Conservatoire
National de Paris and has appeared with the follow'
ing famous French orchestras: Pasdeloup, Concerts
Colonne, Lamoureux and National de Paris. She is
steeped in the romantic French tradition, as the
poetic style of her playing indicates. As we listened
to her recordings we immediately thought of Cortot.
Her playing is marked by extreme accuracy and
delicate refinement. We found it utterly fascinating.
Westminster has supplied the best of piano repro'
duction.

Beethoven: Sonata No. 29 in B-flat, Op. 106

(“Hammerklavier”). One and one'half sides, and
Beethoven: Sonata No. 26 in E-flat, Op. 81a
(“Les Adieux”). Solomon (piano). 4'7" discs in
box (0V'WDM'1733) $5.14. M2" disc (*V'
LM'1733) $5.72.

Beethoven: Sonata No. 13 in E-flat, Op. 27, No. 1
and Beethoven: Sonata No. 19 in G minor, Op.
49, No. 1 . One side, and Beethoven: Sonata No.
14 in C-sharp minor, Op. 27, No. 2 (“Moon'
light”) and Beethoven: Sonata No. 20 in G,
Op. 49, No. 2. Wilhelm Backhaus (piano).
M2" disc (*L'LL'705) $5.95.

Solomon offers thrilling performances of two of
Beethoven’s most popular piano sonatas showing this
pianist’s great virtuosity . . . Backhaus continues
with his recordings of the Beethoven sonatas dis'
playing that profound technique in the German tradi'
tion that has made him a favorite of discerning
music lovers on both sides of the Atlantic for over
fifty years.

Bartok: Sonata for Violin Solo. Wandy Tworak
(violin). 1'10" disc (*L'LS'711) $4.95.

Bartok: Sonata for Violin Solo. Robert Mann
(violin). One side, and Bartok: Contrasts for
Violin, Clarinet and Piano. Robert Mann (vio'
lin), Stanley Drucker (clarinet), Leonid Hambro
(piano). M2" disc (*BARTOK BRS'916) $5.95.
Frequently considered the finest work in the form
since Bach, the Bartok Sonata has received two satis'
factory and one poor recording. The one we do not
consider highly is performed by Robert Mann, first
violinist of the Julliard Quartet. Mr. Mann em'
phasizes only the stringent and dissonant elements
of Bartok, failing to convey the Hungarian flavor
which forms the basis of the composer’s art, and
consequently misses the point of that art which rests
with its synthesis of authentic folk music and classical
forms. To glean an idea of the correct manner of
performing Bartok, one need only listen to his own
recordings, and compare them with duplicate record'
ings of the same works; one discovers that the warmth
Bartok conceives for his compositions has been
replaced by a nervous abstract quality quite foreign

to his apparent intention. Many performances, there'
fore, that are paraded as definitive (in frequent in'
stances executed by those who personally knew Bar'
tok) are as removed from authenticity as are most
attempts to reproduce Medieval music.

When the Menuhin version of the Bartok Sonata
was issued (TNR Apr. ’50) (*V'LM'1087), we
stated that it was “probably ... as fine a rendition
as (the Sonata) will ever get.” Those who may
have this version in their libraries may be well
satisfied that theirs is an outstanding interpretation —
especially in view of the fact that the Sonata was
dedicated to Menuhin. However, Wandy Tworak
achieves a rare balance of thematic and formal
elements, making his offering superior (in our
judgment) and one of the few fully satisfactory
recordings of the late composer’s work. C.

ORGAN

Organ Music of Cesar Franck. Clarence Watters,
playing the organ at Trinity College Chapel,
Hartford (Conn.). 2' 12" discs in album (*CLAS'
SIC CE'1007) $11.90.

CONTENTS: Choral 7\ [o. 1 in E; Choral J^o. 2
in B minor; Choral K[o. 3 in A minor; Priere.

Organ Music of Cesar Franck (Vol. II). Clarence
Watters, playing the organ at Trinity College
Chapel, Hartford (Conn.). M2" disc in box
(*CLASSIC CE'1015) $5.95.

CONTENTS: Fantasie; Cantabile; Piece He'
roique; A ndantino.

In the April 1953 issue of TNR we reviewed a
set titled “French Baroque Organ Music” played
by Clarence Watters and recorded by Classic. This
was about the best organ recording we had heard
until Robert Noehren’s Audiophile discs came along.
The present discs played by Watters duplicate some
of the Noehren records, as far as the three great
Franck Chorals are concerned. Watters, a recognized
authority on French organ music, plays these works
in a more conventional tempo than Noehren, general'
ly on the faster side. His performances are master'
ful and, if different, the equal of Noehren’s. But
what comes from the records in the way of organ
sound is something else. Trinity College Chapel and
its large organ are not captured with the exceptional
clarity that made Noehren’s records so outstanding.
We would recommend the Noehren set over this on
the basis of reproduction alone.

Watters enjoys clearer reproduction in Vol. II;
the full organ passages in the Piece Heroique are
quite thrilling. Again Watters plays admirably and
the organ has many registers of great beauty. All of
the Watters discs have more atmosphere than the
Noehren discs, placing the listener in the nave
rather than close to the organ in the chancel. We
would like to hear some more of the Watters records
using the organ of St. John’s Church which were

I

Indicate! LP 83 }/$ rpm.

H, ROYER SMITH COMPANY

P/vse i4

JULY

The N ew Records

1953

so successful in the Baroque music referred to at
the beginning of this article. Classic Editions will
eventually issue the complete organ works of Franck
played by Watters, in what will be one of the
greatest organ recording projects of our time, a
survey of the French school of organ composition.

S.

Percussion and Pedal (Vol. III). Reginald Foort,
playing the Wurlitzer organ of the Richmond
(Va.) Mosque. MO" disc (*SOT-1052) $4.
CONTENTS: The Cloc\ Factory, Nightmare in
the Mosque, Dust Storm (Foort); La Gioconda —
Dance of the Hours (finale) (Ponchielli); St. Louis
Blues (Handy); Stars and Stripes Forever (Sousa).

The Theatre Organ (Vol. IV). Reginald Foort,
playing the Wurlitzer organ of the Richmond
(Va.) Mosque. MO" disc (*SOT-1053) $4.
CONTENTS: Scherzo in E minor (Mendelssohn);
To the Spring (Grieg); Lohengrin — Prelude to Act
III (Wagner); In a Monastery Garden (Ketelby);
Light Cavalry Overture (Suppe); Wine, Women and
Song (Strauss); II Trovatore — Anvil Chorus
(Verdi)

Hi-fi fans have been clamoring for more SOT
records of the great Wurlitzer organ at the Mosque
in Richmond, Va., played by “Michael Cheshire."
We put “Michael Cheshire" in quotes because when
the first recordings were made his true identity could
not be divulged because of certain contractual com'
mitments. Several of our readers wanted to know
more about Michael Cheshire; they recognized a great
virtuoso but could not understand how so brilliant
an artist could escape widespread recognition. We
can now tell them that “Michael Cheshire" is the
distinguished English organist, Reginald Foort, who
is known all over the world because of his many
outstanding recordings.

Of course, these two new Sounds of Our Times
(SOT) records by Mr. Foort are designed primarily
for Hi'fi fans. If your instrument can reproduce
everything that is on these two discs, you have a
truly “high fidelity" phonograph.

Organ Encores. Richard Ellsasser (organ). 1-12"
disc (*MGM-E-3031) $4.85.

CONTENTS: Oh, Moon of My Delight; Le
Coucou; The Lost Chord; Flight of the Bumble Bee;
Hansel and Gretel — Children’s Prayer; Will o’ the
Wisp; Londonderry Air; Concert Study in D minor;
Humoresque: VOrgano Primitivo; Recreation on
“Tur\ey in the Straw"; Chorale'Prelude on an
English Lullabye.

The distinguished young organist, Richard Ell'
sasser, has turned his attention to a series of well-
known and much beloved selections and has recorded
them using a Hammond electric organ. The present
disc is not of any great musical value, but it contains
much delightful music if you care to relax and let

the pleasing melodies come to you. Reproduction —
excellent.

HARPSICHORD

D. Scarlatti: Sonatas for Harpsichord (Vol. IV).
Fernando Valenti (harpsichord). 1-12" disc
(*WEST-WL-5186) $5.95.

CONTENTS: Sonatas in D, L. 463; E minor,
L. 321; G, L. 209; G minor, L. 386; G, L. 388; A
minor, L. 136; D, L. 418; G. L. 103; C, L. 205;
F, L. 381; F minor, L. 475; E, L. 323.

In his fourth volume Fernando Valenti presents
another dozen of the brilliantly varied, and pyrotech-
nically unique sonatas which form almost the total
surviving works of Domenico Scarlatti. Valenti’s
playing, like some incalculably varied line, follows
the multi-hued life of these miniature dramas with
a sensitivity and understanding that is almost end-
lessly remarkable.

DICTION

Through Childhood to the Throne. A record of
the eventful years preceding the coronation of
Her Majesty, Elizabeth II. 4-7" discs in box
(0V-WDM-177O) $5.14. 1-12" disc (*V-LM-
1770) $5.72.

This unique documentary recording covers the
period of the life of Her Majesty, Queen Elizabeth
II, from her birth on 21 April 1926 until her broad-
cast to her peoples on Christmas Day, 1952. It was
devised, written and produced by Brian George.
The narrator is John Snagge.

It includes recordings of broadcasts of many im-
portant historic events in which are heard the voices
of members of the royal family, leading English
statesmen and many outstanding world figures. These
recordings have been nicely tied together with ap-
propriate remarks by the narrator. As recorded on
the present LP disc it becomes a smoothly running
story of the life and times of the present Queen
of England.

Eliot: Selected Poems. T. S. Eliot (reading). 1-12"
disc (*HARVARD-L-6002/3) $6.50.
CONTENTS: The Love Song of ]. Alfred Pru-
froc\; Gerontion; The Hollow Men; Triumphal
March; Journey of the Magi; A Song for Simeon;
Difficulties of a Statesman; Fragment of an Agon.

Owing to the relatively free syntactical structure
of much of his poetry and to the fact that the
structural arrangement of words and lines is signifi-
cant both to the sound and metrical patterns and
to the logic of it, the availability of Eliot’s recitation
of some of his poems is indispensable to those who
would most fully appreciate those works. Made over
a period of twenty-one years, this collection reveals
the poet’s voice in an unexpectedly interesting variety
of conditions.

PAGE 15

“THE WORLD'S RECORD SHOP"

Indicates LP rpm.
0 Indicates 45 rpm.

JULY

The New R ecords

1953

"The Lord is My Shepherd.” Eugene Kern (reader),
with musical accompaniments. LI 2" disc (*NOT'
ABLE 2323) $5,95.

CONTENTS: Psalms 23, 39, 104, 15, 37, 49,
137, 8, 139, 1.

The Psalms listed above are beautifully and rever-
ently read by the distinguished actor, writer and
director, Eugene Kern. An unobtrusive musical
background of organ music, selected from the works
of Bach, adds very much to the effectiveness of this
fine recording. The texts of the Psalms are taken
from the King James Version of the Bible.

Adlai Stevenson Speaks. Edited and Narrated by
James Fleming. 4-7" discs in box (0V-WDM-
1769) $5.14. M2" disc (*V-LM-1769) $5.72.
This recording is intended for those who would
like to have some highlights of the various speeches
made by the former Democratic nominee for the
presidency, Adlai Stevenson. Recorded excerpts from
his major campaign speeches have been selected and
nicely arranged with an appropriate narration by
the distinguished NBC news commentator, James
Fleming.

BAND

Marches. Deutschmeister Band conducted by Julius
Hermann. 1-10" disc (*WEST-WL-3003 ) $3.95.
CONTENTS: Radetz\y March (J. Strauss); Die
Bosnia\en Kommen; Philippovits March ; Schoenfeld
March; A uersperg March; 84th Regiment March;
Vindobona March; Andreas Hofer March; Castaldo
March.

It has been a long time since we have had a new
record by a military band and the present one comes
all the way from Vienna. It contains a series of
marches that were popular during the reign of the
old monarchy before World War I. These are
played with fine spirit by the famous Deutschmeister
Kapelle, founded in 1741.

MISCELLANEOUS

Fiesta Flamenca. Carlos Montoya (guitar) with
instrumental accompaniment. 1-10" disc (*SOT-
1027) $4.

This record is a hi-fi fan’s dream come true!
Finger snapping, hand clapping, guitar strumming,
dancing, castanet clicking, shouting — transient after
fabulous transient snap through this half hour of
rhythmic excitement. The music of this spontaneous
Spanish “jam session’’ is filled with the most dawling
array of hi-fi sounds probably ever put on a disc.
It will make an ordinary phonograph sound remark-
ably realistic, and on a truely fine instrument one
has virtually to roll back the rugs to make room
for the performers. Ole!

iUftM

BOOKS OF MUSICAL INTEREST

The World's Encyclopaedia of Recorded
Music . By Francis F. Clough and G. J.
Cuming. 890 pp. Sidgwick and Jackson,
Ltd. (London). Price $17.50.

The T^ew Catalogue of Historical Records
1898T908/09. Compiled by Robert Bauer.
494 pp. Published in England. For sale in
U. S. A. by H. Royer Smith Co. (Philadeh
phia). Price $7.25.

The Gramophone Shop Encyclopedia of Re'
corded Music (Third Edition) . Robert H.
Reid, Supervising Editor, 639 pp. Crown
Publishers (New York). Price $2.95.

The Victor Boo\ of Operas. Revised and edited
by Louis Biancolli and Robert Bagar.
xxiv-f-596 pp. Illustrated. Simon and
Schuster (New York). Price $5.

Victor Boo\ of Concertos. By Abraham Veinus.
xxv + 450 pp. Simon and Schuster (New
York). Price $3.95.

Collectors’ Guide to American Recordings
1895 '1925. By Julian Morton Moses.
Foreword by Giuseppe De Luca. 200 pp.
Published by the author. Price $3.75.

I Hear You Calling Me. By Lily McCormack.
201 pp. Illustrated. The Bruce Publishing
Co. (Milwaukee). Price $2.75.

Records: 1950 Edition. By David Hall, ix -f-
524 + xx pps. Alfred A. Knopf (New
York). Price $6.

NOTE: All the above books have been reviewed
in previous issues of The l^ew Records. If your local
dealer does not stock them, orders addressed to H.
Royer Smith Co., Philadelphia 7, Pa., will be promptly
filled. The prices quoted include postage to any point
within U.S.A.

The first letters in the record number indicate the manufacturer: AL— Allegro. BG — Bach Guild, C — Columbia, CE— Cetra. CH— Concert
Hall Society, CL — Capitol, CSM — Colosseum, CRS — Collector’s Record Shop, D — Decca, DL — Dial, ESO — Esoteric, FEST — Festival,
FOLK— Ethnic Folkways Library, G I0A— Gregorian Institute of America, HS— Hadyn Society, L— London Gramophone, LYR— Lyri-
chord, ME— Mercury, OC— Oceanic, OL— L’Oiseau Lyre, PE— Period, PH M— Philharmonia, PLM— Polymusic, REN— Renaissance, SOT—
Sounds of Our Times, STR— Stradivari, UR— Urania, V— Victor, VAN— Vanguard, VX— Vox, and WEST— Westminster.

• Indicates LP 8S% rpm.
^ Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 16

The Nm R ecords

A BULLETIN FOR THOSE INTERESTED IN RECORDED MUSIC

Issued Monthly by

H. ROYER SMITH COMPANY

"The World’s Record Shop"

I0TH& WALNUT STREETS .... PHILADELPHIA 7, PA., U. S. A.

VOL 21, NO. 6

AUGUST, 1953

By null to any address
|l par yaar

*\ yf ORE and more persons are finding phono-
-LVX graph records a great help in learning a
foreign language. Recently there has come to
our attention an unique record in this field.
It is a 12 -inch LP disc entitled “Journey in
French.” The playing time of this LP record
is 47 minutes and this time is divided into
nine dialogues between a Frenchman and his
wife (Jacques and Frangoise) and an American
and his wife (Dick and Nancy) who have come
to Paris for a visit. Jacques and Frangoise take
Dick and Nancy on a personally conducted
tour of Paris — to the Notre Dame cathedral,
the Sorbonne, to a restaurant, to a fashionable
shop, etc. In the course of the tour they
discuss in French literally everything under
the Paris sun — food, wine, architecture, sports,
art, fashion, tipping, cafe life, etc. Continually
Jacques and Frangoise help their American
friends with their French, pointing out their
mistakes and suggesting the proper idiom.
Thus the listener hears conversational French
as it is spoken with humor and realism. By
following the dialogues with the printed French
text (with accompanying English translation),
one will learn common, useful French phrases
and their conversational contexts

Those persons who have gained a fair
knowledge of textbook French in high school
or college can easily bring it alive by listening
to the present record. They may take their
stilted textbook French and convert it into the
realistic conversation that one hears on the
boulevards of the French capital.

As we see it, this is the purpose of this
unusual record. It will be of little value to
anyone who has not had at least two years of
French in school. It is in no sense a short
course for learning French. The price of
“Journey in French” is $4.95. If your local
dealer cannot supply this disc, orders sent to

the publishers of this bulletin will be promptly
filled.

* * *

STOP PRESS! Just as we were about to go
to press, one of the most important recordings
ever to be made arrived from England. It is
the complete Coronation Service of Her
Majesty Queen Elizabeth II, which took place
in Westminster Abbey on 2 June 1953. The
recording was made from the B.B.C. broadcast
by direct wire to H.M.V.’s recording studio and
begins with a spoken introduction by the Arch-
bishop of Canterbury and ends with the sing-
ing of National Anthem as the Queen leaves
the cathedral.

The recording has been most faithfully
achieved; there is very little extraneous noise,
and the music which is so much a part of the
service has been caught with rare fidelity. It
is a great joy to have this great service on
three LP discs and not cut up into innumerable
short sections as was the coronation of her
father on 78 rpm discs. With this set of records
there is supplied an excellent explanatory
booklet prepared by the Rev. Edward C.
Ratcliff, Ely Professor of Divinity in Cam-
bridge University.

As only a limited number of these sets are
available, those interested should place their
orders without delay. The price of this set of
three 12-inch LP discs (manual sequence only)
including the booklet is $21.90 (postpaid with-
in U. S. A.)

BACK COPIES

We are continually receiving requests for
back copies of The New Records. Most of
the issues published during the last twenty
years are available. The price is 10c each. A
file of all of the available issues (at least 140
copies) is $5. These prices are postpaid within
U. S. A.

NOTE: Those persons interested in recent

August T he Records < 953

recordings only may secure all of the issues of
the last three years beginning August 1950 (36
copies) at the special price of $2 (postpaid
within U. S. A.).

NEW LP RELEASES

Puccini: La Tosca (highlights). Simona DairArgine
(soprano); Nino Scattolini (tenor); Scipio Column
bo (baritone); Vienna Kammerchor and Orches-
tra of the Vienna State Opera — Quadri. 1-1 2"
disc (*WEST-WL-5208) $5.9?. (TNRMar. '52).

Bantock: Fifine at the Fair. Royal Philharmonic
Orchestra — Beecham. 1-1 2" disc (*V-LHMV-
1026) $5.95. (TNR Oct. ’51).

Wagner: Die Gotterdammerung — Siegfried's Rhine
Journey; Siegfried's Funeral March. And Wagner:
Tristan und Isolde — Prelude to Act III. And
Wagner: Siegfried Idyll. And Wagner: Tann -
hduser — Introduction to Act III. L'Orchestre de
la Societe des Concerts du Conservatoire de
Paris — Weingartner. M2" disc (*C-ML-4680)
$5.45. (TNR July '42, Feb. '40, Aug. '39, & Mar.
'39).

Bloch: Concerto for Violin and Orchestra. Joseph
Szigeti (violin) with L'Orchestre de la Societe des
Concerts du Conservatoire de Paris — Miinch. One
side, and Bloch: Baal Shem. Joseph Szigeti (violin)
and Andor Farkas (piano). M 2" disc (*C-ML-
4679) $5.45. (TNR Oct. '39 & Mar. '41).

Handel: Concerto Grosso No. 5 in D, Op. 6, No. 5.
London Philharmonic Orchestra — Weingartner.
One side, and Handel: Concerto Grosso J<io. 6 in
G minor, Op. 6, No. 6. London Symphony Orches-
tra — Weingartner. 1-12" disc (*C-ML-4676)
$5.45. (TNR Oct. '39 & Jan. '40).

Mozart: Symphony No. 39 in E'flat, K. 543. One
side, and Mozart: Symphony 7<fo. 40 in G minor,
K. 550. London Philharmonic Orchestra —
Beecham. 1-12" disc (*C-ML-4674) $5.45. (TNR
July '41 & Mar. '38).

OVERTURES ON RECORDS

Berlioz: Roman Carnival Overture. One side, and
Suppe: Light Cavalry — Overture. Philadelphia
“Pops" conducted by Alexander Hilsberg. 1-10"
disc (*C-AAL-34) $2.85.

Wagner: Tannhauser — Overture. Wiirttemberg
State Orchestra (Stuttgart) conducted by Ferdi-
nand Leitner. One side, and Wagner: A Faust
Overture. Munich Philharmonic Orchestra con-
ducted by Fritz Rieger. 1-10" disc (*D-DL-4061)
$2.50.

Strauss: Kaiserwalzer in C, Op. 437 (“Emperor
Waltz"). Bamberg Symphony Orchestra conducted
by Ferdinand Leitner. One side, and Strauss:
Morgenblatter (“Morning Papers Waltz"). RIAS
Symphony Orchestra (Berlin) conducted by Ferenc
1-10" disc (*D-DL-4062) $2.50.

Rossini: Tancredi — Overture. RIAS Symphony Or-
chestra (Berlin) conducted by Ferenc Fricsay.
And Glinka: Russian and Ludmilla — Overture.
Bamberg Symphony Orchestra conducted by Fritz
Lehmann. One side, and Verdi: Nabucco— Over-
ture. RIAS Symphony Orchestra (Berlin) con-
ducted by Ferenc Fricsay. And R. Strauss:
Ariadne auf Naxos — Overture. Wiirttemberg
State Orchestra (Stuttgart) conducted by Ferdi-
nand Leitner. 1-10" disc (*D-DL-4063) $2.50.

Mozart: March and Fandango. Bavarian Radio
Orchestra conducted by Eugen Jochum. And
Dohnanyi: Der Schleier der Pierrette — Wedding
Waltz. Bavarian Symphony Orchestra conducted
by Kurt Graunke. One side, and Waldteufel:
Espana Waltz. And Hellmesberger : Dance of
the Devils. Munich Philharmonic Orchestra con-
ducted by Edmund Nick. 1-10" disc (*D-DL-
4064) $2.50.

ORCHESTRA

Beethoven — orch. Weingartner: Sonata No. 29 in
B-flat, Op. 106 (“Hammerklavier"). Royal Phil-
harmonic Orchestra conducted by Felix Weingart-
ner. 1-12" disc (*C-ML-4675) $5.45.

Beethoven — orch. Weingartner: Sonata No. 29 in
B-flat, Op. 106 (“Hammerklavier"). Bavarian
Symphony Orchestra conducted by Kurt Graunke.
1-12" disc ( *UR-URLP-7089) $5.95.

Beethoven’s great Opus 106 Sonata, the Hammer'
\lavier, has always posed a series of almost insur-
mountable problems for the pianist. The difficulties
were realized by the composer himself for, contrary
to his usual insistence on strict adherence to his
instructions, Beethoven wrote a friend, regarding
this sonata, that “here was a piece that would give
the pianist something to do" and goes on to say
that the performer could change the order of the
movements in order to make the work more under-
standable.

It was because of these many problems that Felix
Weingartner decided to orchestrate the sonata. Now
it must be understood that his work was no mere
exercise in orchestration — on the contrary it is the
serious work of an understanding and intelligent
musician. The resultant composition is an orches-
tral masterpiece, a “Tenth" symphony if you will.
Weitgartner has, to all intents and purposes, put
the Opus 106 into playable form as a hearing of
any of the recorded piano versions will demonstrate
conclusively. This, one realizes, is a controversial
remark, and should not be construed as a blanket
approval of orchestration of Beethoven's or any
other composer's piano music. Rather, it is the
exception that proves the rule.

The two recordings of this monumental work now
available on LP offer interesting contrasts. Columbia
has re-issued Weingartner's original recording. Tech-
nically a fine one in its day, it now shows its age

* indicates LP SSVS *THn.
4 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 2

AUGUST

The N ew Records

1953

in this year of grace, 1953. Urania’s, however, is a
top'notch up'to'date job. A comparison of the two
versions, by movements, is also extremely edifying.
Weingartner’s reading of the first movement has
fire, is fast in tempo while Graunke’s is more delib'
erate and creates a sense of power, of massiveness
that is very persuasive. The ironical scherzo is treated
in about the same fashion by both conductors with
Graunke being a little more bitter, Weingartner more
brittle. Not much to choose here. The crowning
glory of the sonata, the magnificent adagio sostenuto,
is played by both men in virtually the same manner;
it is inspired and moving music in both instances.
After this, the final largo — allegro risoluto always
seemed anti'dimactic but Graunke, because of the
clarity achieved by Urania's engineers, makes the
fugue hang together better than Weingartner’s does.

Regretfully, then, for this reviewer has always
admired the old Columbia version, the palm must
be handed to the Urania recording on the basis of
sheer sound. That Graunke’s performance is as
good as Weingartner’s is one of those fortuitous
circumstances for which one can only be very
thankful. W.

Vaughan Williams: A Pastoral Symphony. London

Philharmonic Orchestra conducted by Sir Adrian

Boult. M2" disc (*L'LL'721) $5.95.

Britten: Variations on a Theme by Frank Bridge,

Op. 10. One side, and Warlock: Capriol Suite.

Boyd Neel String Orchestra conducted by Boyd

Neel. M2" disc (*L'LL'801) $5.95.

All of this music appears for the first time on
LP discs; the symphony, for the first time at any
speed. Both discs are part of London’s “Special
Commemorative Coronation Release.’’ The sym'
phony is Williams’ third, first performed in 1922.
It is the least played of his symphonies because it
is a quiet work all the way through. This contemn
plative music is not pictorial, but rather it is absolute
music that progresses from logical thinking and not
by impressionism. It is one of the composer’s most
powerful and personal utterances, a strong work
which just happens not to have many fortissimo
climaxes. The modal, peaceful mood of the music
produces a vision of landscape as seen from afar,
rather than any sharply drawn picture. There is some
activity in the third movement and some sonorous
passages, although the rhythm does not become
too agitated. The finale opens with a long beatless
and wordless recitative for a solo soprano over a soft
drum'roll, and the work closes with a shortened
version of the soprano solo, this time accompanied
only by a single octave A high on muted violins.

Sir Adrian Boult, who gave us a fine recording
of Williams' London Symphony, leads his admirable
London Philharmonic Orchestra, of which he is
permanent conductor, in a beautiful reading of this
rather mystical music. Knowing Boult’s music mak'
ing, we would say he adheres faithfully to the score,

and one can be quite certain that this performance
is an accurate statement of the music. The reproduce
tion is very fine. Those who have appreciated Vaugh'
an Williams’ other works will find this one well
worth investigating.

The Britten and Warlock works are of a different
nature entirely. They are light essays, cleverly writ'
ten, and entertaining in a sophisticated, classical
manner. Each is a skillful work that sustains inter'
est. Britten's variations are a virtuoso demonstration
in this form for a composer of twenty^three. Boyd
Neel and his fine string orchestra perform these
scores with a firm conviction and the results are up
to his usual high standard; London’s quality of
string tone is pleasing. S.

Shostakovich: Symphony No. 1 in F, Op. 10.

State Orchestra of the USSR conducted by Kiril

Kondrashin. M2" disc (*VANWRS'6014) $5.95.

While not wishing to drool unnecessarily over
things Soviet, facts are facts, and in a traditionally
democratic manner, we must admit that this record'
ing is really something exceptional, Soviet or not.
It is not only one of the most vital performances
of this great score we ever heard, but it is also
magnificently played by the orchestra and recorded
with a fidelity the equal of anything we have heard.
We must give this disc our highest recommendation
in every sense of the word.

Shostakovich's First Symphony may have been
controversial at one time, but it is no longer a
shocker — it is just a brilliant and exhilarating sym'
phony which with the passing years becomes increas'
ingly more important. Composed in 1925 when
Shostakovich was nineteen, this work was his first
major score. It will undoubtedly take its place in
the repertoire of symphonic works with the greatest
creations in that form. Shostakovich’s Fifth is pretty
much in the same class. We believe that the major'
ity of today's music lovers can enjoy this work, and
if you have not become familiar with it, this disc
will be played as often as any, once it becomes part
of your library.

Only two other recordings exist of this work, one
by Stokowski, who gave the work its American
premiere, and one by Rodzinski. The Rodzinski
performance is the only other LP version. While
it is an admirable reading and a good reproduction,
it is not the equal of this new one. There is greater
intensity and less rushing forward in the Kondrashin
reading; it is a bit more expansive, but it never gets
thick or draggy. The quality of reproduction from
U.S.S.R. has rapidly and steadily improved, as noted
in these columns during the past year, and with
this disc, taped in Russia and processed over here,
they have equalled today’s standard anywhere. With
the improved reproduction, we can hear the excel'
lence of the State Orchestra, and it is a first class
group with marvelous precision. More Shostakovich
symphonies recorded in this manner would be
valuable additions to the LP catalogs. S.

PAGE 3

"THE WORLD'S RECORD SHOP 1 *

Indicate* LP 88^ rpn.
0 Indicates 45 tpm.

AUGUST

1953

The N ew Records

Beethoven: Symphony No. 4 in B-flat, Op. 60.

Halle Orchestra conducted by Sir Hamilton Harty.
M2" disc (*G'RL'3034) $2.98.

Beethoven: Symphony No. 7 in A, Op. 92. Phil'
harmonia Orchestra conducted by Alceo Galliera.
M2" disc (*C'RL'3035) $2.98.

Beethoven: Symphony No. 5 in C minor, Op. 47.
One side, and Mozart: Symphony No. 39 in
E-flat, K. 543. Vienna Philharmonic Orchestra
conducted by Herbert von Karajan. M2" disc
(*C'RL'3068) $2.98.

Columbia's offerings on the low'priced “Entre”
series are of more than passing interest in the case
of these three. We will dispose of the Beethoven
Fourth first because it will be of interest primarily
to those admirers of the late Hamilton Harty, of
Handel’s 'Water Music fame and a generally ad'
mirable conductor of his day. However, this set is
at least twenty years old, and Columbia has an even
better bargain package in their regular full'priced
line: Walter and the New York Philharmonic doing
the Beethoven Fourth and Second, both on one 12"
LP, which obviously beats the value of this “Entre’’
disc, to say nothing of better reproduction. The
amazing thing about this Hamilton Harty disc is
how well it does sound for its age. The over'all
effect is more pleasing than some of the super'
strident, shrill jobs of today; but it is not in a class
with even the average of today's recordings. As a
performance it is good, although not good enough
to take precedence over a newer one.

The balance of the offerings, Beethoven’s Fifth
and Seventh and the Mozart Symphony 7^o. 39, are
all superlative jobs. Galliera has a fine snap and
precision in his Seventh, with a wonderful pace
and drive, and all of it under firm control. We were
quite impressed with this reading, not expecting any'
thing as fine as this. The Philharmonia plays with
beautiful finish, and Galliera’s reading is straight'
forward, with a perfect balance between tautness
and relaxation.

Von Karajan is enjoying one of his better moments
in both of the works he directs here. This is a fine
Beethoven Fifth, with great intensity and solid
orchestral playing. It has many magnificent moments
and is not marred by interpretive excesses. The
Mozart is a shade heavy, but this particular one
can stand it, and the result is most satisfying. All of
these are recent recordings, within the past two or
three years, and are examples of good reproduction.

S.

R. Strauss: Aus Italien, Op. 16. Symphony Orches'
tra of Radio Berlin conducted by Arthur Rother.
M2" disc (*UR'URLP'7087) $5.95.

Aus Italien is a symphonic fantasia, the first of
Strauss' orchestral tone poems. It is in four move'
ments, with the second and fourth constructed along

sonata lines, and has been called a symphony by
some. It is the first work in which Strauss, brought
up on classical methods, broke away and began to
think for himself, a result which has been felt in
orchestral composition ever since.

At the age of twenty'two Strauss visited Italy,
spending much time in Naples and Rome, enjoying
the scenic beauty, historical landmarks, and the
bright, gay life of that land. As with other com'
posers, Strauss was inspired by his visit, and the
inspiration was poured into a major orchestral canvas.
The last movement of this work is based on the
familiar song Funiculi, funicula, which is given a
treatment of great abandon and rather daring flights
of imagination. The public was mindful of this new
musical form and the large orchestra (and extravagant
scoring) employed by Strauss, and their greeting was
a mixed one. Any opposition did not, fortunately,
discourage Strauss — his mind was made up, and he
was happy to have discovered a new direction in
music. Macbeth, Don Juan, and Tod und Ver\larung
which followed proved him right. Two weeks after
the first performance in Munich, Strauss wrote to
Hans von Biilow, asking him to accept the dedica'
tion of his Italian Fantasia as a “little token of my
great gratitude.’’ Von Biilow, who usually declined
such honors, accepted with unequalled enthusiasm
the dedication of “this Symphonic Fantasia deco'
rated by local opposition.’’

The four movements are entitled: On the Cam'
pagna, Amid Rome’s Ruins, On the Shore of Sor'
rento, and Neapolitan Folk Life. There is much
to admire in the music; many who find the later
tone poems too ornate would enjoy this work,
which deserves more of a hearing than it gets.
Rother and his orchestra offer a fine performance of
the work which is excellently recorded. S.

Mahler: Symphony No. 7 (“Song of the Night’’).
Orchestra of the Vienna State Opera conducted
by Hermann Scherchen. 2' 12" discs in album
(*WEST'WAL'211) $11.90.

Mahler: Symphony No. 7 (“Song of the Night’’).
Symphony Orchestra of Radio Berlin conducted
by Hans Rosbaud. 2' 12" discs in album (*UR'
URLP'405) $9.70.

There is little comparison between these two
recordings. Scherchen so clearly outperforms Ros'
baud that he runs away with the honors in every
respect. Westminster’s victory is even more com'
plete for they have better orchestral playing and
far better reproduction. Whether you listen to the
first two minutes or whether you play them both
all the way through, the results are the same. In
fact, Rosbaud’s version is rather boring, for he
plods along with dull recording pulling him down
even more. Scherchen’s treatment keeps things mov'
ing along in an interesting fashion, and he has a
knack of making this sprawling score hang together.
The Seventh is a long work which finds Mahler

H. ROYER SMITH COMPANY page 4

• indicates LP 88 ^ rpm.
0 indicates 45 rpm.

AUGUST

The N ew R ecords

1953

in a mood which has led this symphony to be called
his “romantic," such as Bruckner's Fourth. This
work takes leave from the purely subjective, auto'
biographical style of the earlier works. It is still a
descriptive piece of writing, and is a bizarre and
satirical work which alternates capriciously in mood.
The five movements present an intriguing structure.
The outer movements frame the three middle move'
ments. But the three middle movements have a
peculiar form in themselves. The second and fourth
movements are called ?S [achtmusi\, and they surround
the third movement Scherzo. These three middle
movements alternate between the lyric and the
grotesque, with unexpected outbursts following the
sweetest passages. Among the baffling aspects of this
work is the key signature. It is sometimes called
the Symphony in E minor and sometimes the Sym'
phony in B minor; but the name “Song of the
Night" is a charming title which fits it well con'
sidering the two movements called 7S [achtmusi\. The
use of guitar and mandolin in the fourth movement
gives that Night Music a wonderful effect, original
with Mahler. There is much in the Seventh that is
fascinating, and we can recommend Scherchen’s
recording as something to interest the more curious
and enterprising music lover as well as the devoted
Mahlerites. g

CONCERTO

Tchaikovsky: Concerto No. 2 in G, Op. 44. Margot
Pinter (piano) with the Symphony Orchestra of
Radio Berlin conducted by Arthur Rother. IT 2"
disc ( *UR'URLP'708 1 ) $5.95.

Khachaturian: Concerto for Piano and Orchestra.

Margot Pinter (piano) with the Symphony Or'
chestra of Radio Berlin conducted by Arthur
Rother. 1T2" disc (*UR'URLP'7086) $5.95.
Margot Pinter is a pianist new to us. She is a
good artist, sincere and rather free of interpretive
mannerisms. If there were no other recorded versions
of these works with which to compare the present
discs, we would probably give both these works a
high rating. Such is not the case, for in the Tchai'
kovsky, there exists a recent recording by Mewtom
Wood with the Winterthur Orchestra under Walter
Goehr (*CH'CHST 125), which is mighty stiff
competition. It has a lot more drive and virtuoso
flourish than the Pinter recording, qualities which
this work can well accommodate. The music may
not have the immediate popular appeal of the well
worn First Concerto, but it is a pity that it does not
get at least a tenth of the concert performances of
the First, for the Second has many lovely melodies
and much fine workmanship (for that matter, so does
Tchaikovsky's Third Concerto, another brilliant and
interesting work well done by Mewton'Wood on
LP). We would prefer the MewtomWood as a
performance, both soloist and accompaniment, and

as a more forward reproduction.

The Khachaturian Piano Concerto is enjoying a
substantial popularity which seems to be growing
with the years. The LP recordings now number five.
The best of them is still, to our ears, Levant and
Mitropoulos (*C'ML'4288) which we reviewed in
March, 1950. From the very opening measures there
is a conviction that is contagious, and a rapport
between soloist and conductor which is perfect.
Levant begins the work more pompously than Pinter;
it is marked Allegro Maestoso, and that is how he
plays it. In the first and third movements, Levant
has a definition and clarity that exceed all other
recorded performances. Columbia's reproduction is
notably better than the present Urania, in every
respect; better percussion, better piano tone — closer
and brighter, and better balance. The Pinter reading
is a good and a valid one, but it is just not in the
same league as Levant and is barely equal to Kapell
or Lympany. For this work we still recommend Le'
vant's disc above all others. S.

Vivaldi: Concerto in E minor for Violoncello and
Strings. And Couperin — arr. Bazelaire: Pieces
en Concert for Violoncello and Strings. One
side, and Boccherini: Concerto in B-flat for
Violoncello and Orchestra. Pierre Fournier (vio'
loncello) with the Stuttgart Chamber Orchestra
conducted by Karl Munchinger. IT 2" disc (*L'
LL'687) $5.95.

’Cello Recital. Pierre Fournier (violoncello) accom'
panied by Ernest Lush (piano). IT 2" disc (*L'
LL'700) $5.95.

CONTENTS: Chorale (“Herzlich tut mich Ver'
langen") (Bach); Sonata in G (Bach); Wigun (from
“Baal Shem") (Bloch); Chanson Louis XIII and
Pavane (Kreisler); Beau Soir (Debussy'Heifetz);
Fileuse, Op. 80, Ho. 2 (Faure); Prelude Ho. 2
(Gershwin); Granadina (Nin).

Unlike most 'cellists whose bowing sounds like
a runner's breathing after the 100 yard dash, Pierre
Fournier possess an unusual and almost uniquely
mellifluous tone which, combined with his supremely
cultivated musicianship indicates immediately, that
he is one of the very few good 'cellists one may hear
today. His is the quiet drama, the variety which is
calculated to last and not to expire after a few
sensational exhibitions. He does not strive, partial'
larly, for authenticity (as in the cases of the Vivaldi,
Boccherini and Haydn concerti), but rather strives
to express what he performs in terms of his own
technique; and to be convincing at that sort of
approach, a basically interpretive one, requires a
highly controlled talent.

The majority of his “ 'Cello Recital" consists
of works not intended for that instrument, but in
no instance, if one did not know the origins of the
works, would there probably be any doubt that they
were all 'cello masterpieces. His version of the
Bach Sonata, when compared with Casal's, leaves

PAGE 5

"THE WORLD'S RECORD SHOP”

Indicate! LP rpm
0 indicate* 45 rpm

AUGUST

The Nm R ecords

1953

the impression that where Casals is playing the
'cello, Fournier is playing the Sonata. The same
impression is acquired from other comparisons we
have made, which is not so much a depreciation of
other 'cellists, as an indictment of the rarity of
the kind of playing which Fournier exhibits on his
first major LP releases. C.

Beethoven: Concerto No. 1 in C, Op. 15. Paul
Badura'Skoda (piano) with the Vienna State
Opera Orchestra conducted by Hermann Scher'
chen. M2" disc (*WEST'WL'5209) $5.95.

The second in order of composition (of the great
five), but the first to be published, this concerto is
considered to be closer in style to Mozart than any'
thing else Beethoven ever wrote. It could not be
called imitation, but the style and feeling are often
present. It is an extension of Mozart’s writing and
is clearly Beethoven. The problem of interpretation
in the First Concerto is usually mindful of this
Mozartian style. The idea is carried out well by
Gieseking (*C'ML'4307), a recording which has
been admired and preferred in these columns. The
present disc by Badura'Skoda leans much more to
the style of Beethoven playing which we would find
in the later concertos. Scherchen sees it this way
too. There is a maximum of weight from both
soloist and orchestra throughout the performance,
but we would not call it heavy'handed nor inappro'
priate. Badura'Skoda does better by this concerto
than either of the other two he has committed to discs
(Fourth and Fifth), although his Fourth was quite
good. He is perfectly agile, with a rippling technique
and the requisite power where necessary. Scherchen
provides a fine accompaniment and elicits some
nicely turned phrases from the orchestra. The per'
formance is well integrated, and each movement is
carefully wrought. We would recommend it as the
best of all the LP’s available. S.

Khachaturian: Concerto for Violoncello and Or-
chestra (1946). Sviatoslav Knushevitsky (violon'
cello) with the USSR State Orchestra conducted
by Alexander Gauk. M2" disc (*VAN'VRS'
6009) $5.95.

While most of us have greatly enjoyed Khacha'
turian’s Gayne, Masquerade, and Piano Concerto,
many have labeled these works with banality. The
Violin Concerto is considered by some a little long
and mushy in substance. We now have a concerto
for another instrument, and in this ‘cello concerto
Khachaturian has produced a work of definite appeal,
as well as another work of magnificent Armenian
color. The characteristics of Armenian folk music
are tightly woven throughout the entire work. Built
on solid classical forms, this work presumably does
not use actual folk melodies; but all the themes have
the style and feeling of typical Armenian melody.
This national spirit is an inseparable part of Khacha'

turian’s art and lends a fresh and original quality
to his work; it makes his music distinctive. As in
his other works mentioned above, there seems to be
no political connections; it is just honestly built on
the musical heritage of his native land.

The cover notes for this disc give an understand'
ably detailed description of the three movements, and
they point up the use of Armenian melody and the
folk and dancedike tunes which Khachaturian em'
ploys. The writing for the solo instrument is bril'
liant, full of technical difficulties for virtuoso dis'
play, and always interesting to hear. The orchestral
part is important and beautifully scored. We would
say this is a fine work for ’cello and a worthy addition
to the concerto repertoire for that instrument. You
will find it an absorbing work well worth hearing,
especially if you have enjoyed other works by this
composer. It is splendidly performed by the artist
to whom the work is dedicated. The accompanying
orchestra is fine and the reproduction brilliant. This
work, by the way, is but 34 minutes long, and each
side of this 12" LP has just 17 minutes of music
on it. S.

MacDowell: Concerto No. 1 in A minor, Op. 15.

One side, and MacDowell: Concerto No. 2 in D

minor, Op. 23. Vivian Rivkin (piano) with the

Orchestra of the Vienna State Opera conducted

by Dean Dixon. M2" disc (*WEST'WL'5190)

$5.95.

It seems we just finished reviewing the MacDowell
Concerto J^o. 2 (TNR, May 1953) played by
Sanroma and the Eastman'Rochester Orchestra under
Hanson (*C'ML'4638), and now we have another
version. A third LP of this work is also in the
catalogs, by Jenner and the Vienna State Opera
Orchestra under Swoboda (*CH'CHS'1137). Admir'
able as Miss Rivkin’s reading may be, it lacks the
stature of either the Sanroma or Jenner recordings.
It has good reproduction, less metalic than Sanroma,
similar to Jenner. We believe some MacDowell
authorities may well consider this the best of the lot,
for Miss Rivkin has fine technical accuracy, and a
warm, romantic feeling for the music, but for our
taste it lacks vitality.

However one may appraise the performance of
the Second Concerto, it must be admitted that the
second side of this disc is inferior to either the
Columbia or Concert Hall discs. Columbia pairs
Hanson’s Symphony T^o. 2 (“Romantic") and Con'
cert Hall offers MacDowell’s Woodland Sketches
played by Artur Balsam, either and both of which
have more to say than MacDowell’s Concerto 7S(o. 1 .
This work is not in the same class as his Second.
It is a weak, affair of rather uninteresting thematic
material; much of it sounds like piano etudes, and
we were bored with it. Miss Rivkin strives valiantly
to make something out of it and Dixon supplies a
careful and enthusiastic accompaniment. This is its
first recording and will probably be its last. S.

• Indicates LP 88 rpm.
0 Indicate* 45 rpm.

H. ROYER SMITH COMPANY

PAGE 6

AUGUST

The Ntfze; Records

1953

CHAMBER MUSIC

Marais: Suite No. 4 in A minor. One side, and
Marais: Suite No. 5 in A. Ernst Victor Wolff
(harpsichord) and Eva Heinetz (viola da gamba).
M2" disc (*EMS'8) $5.95.

Fux, Banchieri, Gesualdo, Solar, Farnaby, Char'
pentier, and Marais, all important pre'dassical com'
posers, have, after extensive phonographic neglect,
received, within the last month or two, sudden and
substantial representation on records; all of which
we consider a wise and gratifying trend. Marais is
our particular concern here, and even a cursory
hearing of his works reveals a noteworthy talent,
as opposed to one in which our interest is basically
historical. One feels about him, as one does about
Couperin, that his music reflects indelibly what
has come to be known as the French spirit.

These Suites are played, as is always the custom
on EMS records, on the most authentic instruments.
And, it must be said, that the performances of Mr.
Wolff and Miss Heinetz match the suitability of those
instruments. C.

Tchaikovsky: Quartet No. 1 in D, Op. 11. One
side, and Borodin: Quartet No. 2 in D. Holly'
wood String Quartet. M2" disc (*CL'P'8187)
$4.98.

This disc contains two of the most popular string
quartets written by Russian composers. Tchaikovsky's
is famous for its second movement “Andante Can'
tabile" and the Borodin opus will be remembered
for its beautiful third movement “Notturno." There
are other LP recordings of these works but none
the equal of the fine performances one will find
upon the present disc.

Baroque Music. Harpsichord Quartet: Claude Mon'
teux (flute); Harry Shulman (oboe); Bernard
Greenhouse (violoncello); Sylvia Marlowe (harp'
sichord). M2" disc (*ESO'ES'517) $5.95.
CONTENTS: (5) Canzoni per Sonar (Fresco'
baldi); Sonata J^o. 2 in E minor (Rosenmuller) ;
Le Pamasse ou VApotheose de Corelli (Couperin).

Hovhannes: Quartet for Flute, Oboe, Violoncello,
Harpsichord. Harpsichord Quartet. And Lessard:
Toccata in Four Movements. One side, and
Thomson: Sonata No. 4. And Rieti: Sonata all’
Antica. Sylvia Marlowe (harpsichord). M2" disc
(*NEW EDITIONS NE'3) $5.95.

On the Esoteric disc the Harpsichord Quartet
makes its debut on records and it is a most valuable
addition to the phonographic honors list. Its per'
formance of Baroque music maintains such respon'
siveness to the art with which it is dealing that
it may be said to be able to do for the music of
that period what the Pro Musica Antiqua is doing
for the music of the Medieval and Renaissance times.
The Quartet plays only the very short Hovhannes

work on the New Editions record, the major por'
tion of that recording being occupied by Sylvia
Marlowe, who is justly praised as “one of the most
brilliant executants of our time." This is the first
extensive recording of the solo harpsichord perform'
ing 20th century works, and the results make this
an indispensable disc for lovers of the instrument
which, probably above all others, combines in per'
feet fashion both purity and flexibility. The signifi'
cant and unusual tonal and dramatic qualities
achieved are strong justification for the renaissance
of this instrument. C.

R. Strauss: Suite in B-flat, Op. 4. One side, and
R. Strauss: Serenade in E-flat, Op. 7. Vienna
Philharmonic Wind Group. M2" disc (*WEST'
WL'5185) $5.95.

These earlier works of Richard Strauss (com'
posed before he was 21 years of age) are of more
historical interest than musical value. They show
the young composer's interest in various instruments,
which interest doubtless flowered into his later great
flair for orchestration. The present two selections
for wind instruments (flutes, oboes, clarinets, bas'
soons, contra bassoons and horns) are pleasing
enough to listen to but will be of real interest only
to students of the music of that outstanding German
composer who largely dominated the musical scene
of his native land from the 1890's until his recent
death in 1949.

Schubert: Quartet No. 14 in D minor (“Der Tod
und das Madchen''). Hungarian Quartet. M2"
disc (*CH'CHS'1152) $5.95.

Schubert: Trio No. 1 in B-flat, Op. 99. Jean Four'
nier (violin), Antonio Janigro (violoncello) and
Paul Badura'Skoda (piano). M2" disc ( * WEST'
WL'5188) $5.95.

Schubert: Octet in F, Op. 166. Chamber Music
Ensemble of the Berlin Philharmonic Orchestra.
M2" disc (*D'DL'9669) $5.85.

There are numerous LP recordings of these popU'
lar Schubert chamber works already in the catalog,
but we want our readers to know that the present
versions are available. We found these three discs
all quite satisfactory. We were particularly impressed
with Westminster disc containing the Trio 7s [o. 1
in B'flat, Op. 99.

CHORAL

Bach: St. Matthew Passion (excerpts). (Sung in
German). Orchestra and Chorus of the Danish
State Radio conducted by Mogens Woldike. M2"
disc (*HS'HSL'2070) $5.95.

Bach's Passion According to St. Matthew has been
accorded two “complete'' £P recordings. As one
might expect of a work of such scope, perfect or
ideal performances are not the order of the day.
This statement is not meant in any snide fashion —

PAGE 7

‘•the WORLD’S RECORD SHOP”

Indicates LP 88 rpm.
0 indicates 45 rpm

AUGUST

The New R ecords 1953

ideal performances of any major work are few and
far between. By the same token abridged or trim*
cated versions of lengthy works are open to criticism.
Who can decide what to delete, what to include?
In very few instances are “streamlined” versions
of longer works satisfactory.

Consequently, it is a real pleasure to come across
a disc that intelligently makes no attempt at abridge'
ment (despite the Schwann catalog's listing of this
record as such). As a matter of fact, the present
recording is solely designed to introduce the listener
to one of the three main media of the St. Matthew
Passion (the other two are the aria and the recita*
tive). Thus the record contains seven chorales, three
double choruses, including the opening and closing
ones and the choral' fantasia which forms the finale
to Part I of the Passion. That is all, for it was
not considered feasible nor proper to include the
choral parts that intensify the drama, the outbursts
of terror or disdain or the mocking choruses.

Mogens Woldike’s conception of this moving music
is an enchanting one. His intentions are to present
the music with “some of the simplicity and unpretem
tiousness which must have characterized the early
performances.” No attempt is made to dramatize
or “interpret” — the music . is sung in such a way
“that a congregation could easily join in, as was
expected of it in the 18th century.”

This performance, then, by the Orchestra and
Chorus of the Danish State Radio, is unique and
will not please those who look for monumental
effects and masses of sound. It will please all those
who have an open mind and who are willing to be
led back to the early years of the 18th century when
this matchless music was first heard.

Superior recording, scholarly and readable notes
plus the complete texts round off another Haydn
Society triumph. W.

Bach: Cantata No. 1 (“Wie schon leuchtet der
Morgenstern”). One side, and Bach: Cantata No.
19 (“Es erhub sich ein Streit”). (Sung in Ger*
man). Gunthild Weber (soprano); Helmut Krebs
(tenor); Hermann Schey (bass); Berlin Motet
Choir; Berlin Philharmonic Orchestra conducted
by Fritz Lehmann. IT 2" disc (*D'DL'967l)
$5.85.

Bach: Cantata No. 39 (“Brich dem Hungrigen dein
Brod”). One side, and Bach: Cantata No. 79
(“Gott, der Herr, ist Sonn' und Schild”). (Sung
in German). Gunthild Weber (soprano); Lore
Fischer (alto); Hermann Schey (bass); Berlin
Motet Choir; Berlin Philharmonic Orchestra con*
ducted by Fritz Lehmann. M2" disc (*D'DL'
9672) $5.85.

Four Bach Cantatas, three of them new to records,
enliven this month’s lists. All four are performed
by essentially the same artists and are, in general,
distinguished — at times elegant — performances.
Cantata ?S[o. 1 “Wie schon leuchtet,” despite the

low numbering (this is the Bach Gesellschaft sys'
tern), is a work of the mature Bach and was written
for the Feast of the Annunciation. It is a joyous
and serene work as befits the subject matter. Cantata
Tsfo. 19 “Es erhub sich ein Streit” is a somewhat
earlier piece and is the first work of this nature to
be written to a text by the now famous “Picander”
(Christian Friedrich Henrici). It is a Michaelmas
cantata and contains some very fascinating passages
depicting the struggle between the Archangel Michael
and the dragon. Cantatas J\[o. 39 “Brich dem Hun'
grigen dein Brod” and 7 s[o. 79 “Gott, derr Herr” are
equally fine. The former is a special work for a
Thanksgiving Service of welcome for some eighteen
hundred persons driven, because of war, from their
homes in Salzburg. The latter is a companion piece
to the more famous Cantata ?{o. 80 “Ein Feste
Burg” and, like it, was written for the Reformation
Festival.

The soloists are, in every respect, first rate artists,
excellently equipped vocally and temperamentally for
the music. Briefly one may say that Krebs has a
very pleasant tenor voice that is used well, Gunthild
Weber is a lyric soprano of merit, Lore Fischer an
alto of considerable charm and the veteran Schey
sings with distinction. The accompanying orchestra,
members of the Berlin Philharmonic, are superb, and
the use of old instruments and a baroque organ lend
a quaint, archaic air to the proceedings that is utterly
disarming. Then, too, Fritz Lehmann’s relaxed direc'
tion and the accurate, expressive singing of the Berlin
Motet Choir are just what the music requires. These
two discs are indeed valuable additions to the swell'
ing list of recorded performances of the Bach Can'
tatas.

Superior notes and top flight recording assure
the purchaser of a maximum amount of listening
enjoyment. W.

A Festival of Choral Music. Choral Chamber Group

of Pamplona conducted by Luis Morondo. M2"
disc (*WEST'WL'519 5) $5.95.

CONTENTS; O vos omnes (Victoria); Quedito
pasito que dureme (Hidalgo); Campanas (Senfl);
Dureme Pequinin, La Campana, Pobre Corazon (Re'
boud); Ribernas (Remacha); VenerabiVs barba ca'
puccinorum (Donosti); (3 ) Canciones y un pregon
(anon.); El Perro de A guas, M ozuca (Do Vital);
Husar Gentil (Matyas Seber); Alborada (Ledesma);
Triste Recuerdo (Massa).

Really good news seldom makes the headlines of
our daily papers. This is, of course, as regrettable
as it is expected. Thus it remains for The New
Records to announce this disc, issued by West'
minster. The good news is not so much concerned
with the music (which is none the less very fine)
as it is with the music makers.

The Choral Chamber Group of Pamplona is an
ensemble of sixteen amateurs (secretaries, clerks,
etc. in their daily lives) that is directed by an insur'

* Indicates LP 88^3 rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE S

AUGUST

The New R ecords

1953

ance company employee! And, what is even more
astonishing, they intend to remain amateurs and
insist on earning their living in nommusical fields.
Thus they do not make any extended tours, and
only on their collective vacations are they able to
make quick trips to Wales, France and Germany.
That such a group of dedicated people exists is, in
itself, very good news; that they sing in such an
astonishingly fine manner is an added dividend.

The program on this disc was recorded during
an actual performance in the abbey Royaumont,
France. The music, some of it folk material, is all
by composers about whom, with the exception of
Victoria and Senfl, this reviewer has never heard.
The opening piece, Victoria's O vos omnes, is a
classic and is sung to perfection. Throughout the
disc one is constantly surprised by the accurate
dynamics, the control, the phrasing and, above all,
the high purpose of the group. Luis Morondo is a
man to be reckoned with, and his choral group is
a superb aggregation.

The quality of the singing reminded this reviewer
of the old Orfeo Catala records but, of course, with
the more advanced recording techniques available
today the present group surpasses the older one by
a wide margin insofar as sound is concerned. Yet
the “extra'musical" characteristics of both ensem'
bles are very similar.

Fine recording; but Westminster, usually so
meticulous about such matters, has not furnished
any notes worthy of the name. W.

Vaughan Williams: Mass in G minor. One side,

and Rubbra: Missa in Honorem Sancti Dominici.

Fleet Street Choir conducted by T. B. Lawrence.

M2" disc (*L'LL'80?) $5.95.

In a “special commemorative Coronation release"
London issues a first recording of two ecclesiastical
works by British composers. The first, a Mass in G
minor by Ralph Vaughan Williams, dates from 1922,
while the other, Missa in Honorem Sancti Dominici
by Edmund Rubbra (1901' ) was composed in

1948. Both are written in accordance with Pius X’s
Motu Proprio, which states, among other things,
that “the liturgical text must be sung without altera'
tion or inversion of words, without undue repetition
and always in a manner intelligible to the faithful.
... It is not lawful to keep the priest waiting on
account of the music." Thus both Masses are in'
tended for actual Church use, either in the Roman
Communion or in the Anglican.

Vaughan Williams’ work is, musically, one of
his most characteristic utterances, showing the in'
fluence of the Tudor composers; but, as is always
the case with a good musician, the influences have
been thoroughly assimilated and turned to original
uses. The Mass in G minor is an austere work,
remote and plain and, despite its relatively modern
origin, full of sixteenth century atmosphere.

Dr. Rubbra’s effort is equally severe, but it lacks

the inspiration and poetry of his one'time teacher’s.
It is terse, eminently suited for church use, for
there is no repetition, nothing to hold up the move'
ment of the ritual.

The Fleet Street Choir, founded (and directed
here) by the late T. B. Lawrence, is a superior
organization; they sing with precision and excellent
tonal quality. The unearned soloists in the Vaughan
Williams piece are adequate but not exceptional.

London has given both works fine recording,
and there are notes, somewhat technical analyses
that will please the specialist but leave the average
music lover cold. W.

Stravinsky: Symphonic des Psaumcs. RIAS Cham'
ber and Boys’ Choir, St. Hedwig’s Cathedral
Choir, RIAS Symphony Orchestra conducted by
Ferenc Fricsay. MO" disc (*D'DL'7526) $3.85.
This recording contains an aggomleration of
shouting and whispering and therefore conveys little
of the cogency of the music that has been called
“the most important religious work of the 20th
century.” As the best recording of this work avail'
able we would recommend the one conducted by
the composer (*C'ML'4129) (TNR Apr. ’49).

Lieder of Beethoven, Schubert and Schumann.

Dietrich Fischer'Dieskau. 4'7" in box (0V'

WHMVT046) $5.14. M2" disc (*V'LHMV'

1046) $5.95.

CONTENTS: An die feme Geliebte, Op. 98
(Beethoven). Standchen; Das Fischermadchen; Der
Erl1{dnig, Op. 1; l^acht und Trdume, Op. 43, 7\ [o. 2;
Du bist die Ruh\ Op. 59, >(o. 3; Der Atlas; Am
M eer; Der Doppelganger (Schubert). Mondnacht,
Op. 39; Die beiden Grenadiere, Op. 49, “Ho. I
(Schumann).

Considerable publicity has attended the various
recordings made by the young (b. 1925) German
baritone, Dietrich Fischer'Dieskau. Great names have
been freely evoked (Hiisch and Schlusnus by one
reviewer) and thus, it was with interest that one
greeted this HMV disc that contains much that has
been recorded before and includes material that
makes many demands, both technically and artistically
— in short, a dangerous program.

Fischer'Dieskau’s previously released recordings
in this country consisted, in the main, of his work
in a series of Bach Cantatas (issued by Decca)
and a really good performance of Brahms’ Vier
ernste Gesange. Thus it came as something of a
shock to hear the Beethoven song cycle An die feme
Geliebte sung in such an ^exaggerated and labored
fashion. Fischer'Dieskau’s absurd choice of tempi
(lugubriously slow) and his mannered and misplaced
emphases make the recording one to be avoided at
all costs.

PAGE 9

"THE WORLD'S RECORD SHOP"

Indicates LP 88 rpm
0 Indicates 45 rpm.

AUGUST

lifte New Records 1953

Unfortunately things do not improve in the
Schubert and Schumann I ieder, even the thrice
familiar Serenade has a strange sound about it,
and the wonderful Hacht und Traume misses fire
completely. Misplaced, almost amateurish “drama'
tics" mar the superb music of Der Erl\onig and Der
Doppelganger as well.

The record, as can be gathered from the above,
is a disappointment, particularly in view of Fischer'
Dieskau's essentially fine voice. One can only sin'
cerely hope that some time soon the singer's artistry
will catch up with his technical ability.

Absurdly inadequate notes and no texts complete
one of the year's most ineffective offerings. W.
Lieder of Mozart and Richard Strauss. Suzanne
Danco (soprano) accompanied by Guido Agosti
(piano). MO" disc (*L'LS'699) $4.95.
CONTENTS: Das Veilchen, K. 476; Abendemp'
findung, K. 52 3; Dans un bois solitaire, K. 308;
An Chloe, K. 524 (Mozart). Morgen, Op. 27, Ho. 4;
Stdndchen, Op. 17, Ho. 2; Traum durch die Dam'
merung, Op. 29, Ho. 1; Z ueignung, Op. 10, Ho. 1 ;
Freundliche Vision, Op. 48, Ho. 1 (R. Strauss).

A Recital of 17th and 18th Century Music.
Suzanne Danco (soprano) accompanied by Jeanne
Demessieux (organ) and Guido Agosti (piano).
MO" disc (*L'LS'698) $4.95.

CONTENTS : Eile mich, Gott, zu erretten
(Schiitz); Bist du bet mir (Bach); W arum betrubst
du dich (Bach); Komm, susser Tod (Bach); Paride
ed Elena — O del mio dolce ardor (Gluck); La donna
ancora e fedele — Se Fiorina e fedele (A. Scarlatti);
Come raggio del sol (Caldara); Danza, danza (Dur'
ante); Amarilli, mia bella (Caccini).

The art of Suzanne Danco is constantly being
revealed in its many facets via London recordings.
Here are two discs that demonstrate anew, if that
were necessary, that Mile. Danco is a superior
singer, one whose understanding of the various
musical styles is at once comprehensive and inclusive.

The first disc is devoted to lieder of Mozart and
Strauss. Now Mozart, beyond a doubt the most
gifted of composers, never wrote many songs and
never spent much time or effort on the form. Despite
this, several of the songs recorded here are real gems,
giving an inkling of what might have been, had
Mozart really devoted himself to song writing. In all
events, these examples of Mozart lieder are exquisitely
sung — particularly delightful are the charming Dans
un bois solitaire and the wonderful Das Veilchen,
which is really not a song at all but an operatic
scena in miniature. Strauss' songs are represented
by the more popular ones, and deservedly so. Such
lieder as Traum durch die Dammerung and Morgen
rank among the best, and Miss Danco sings them
with understanding and taste.

It is a considerable jump, both in time and style,
to Schiitz, Caldara and Caccini, and Mile, Danco
makes the necessary vocal and stylistic changes like

the true artist she is. It is in such songs and arias
as these that one notes the extreme purity of her
tones, the essential musicality of her voice. These
old compositions are not for the inexperienced singer
— they require an intangible quality that can be best
described, for want of a better phrase, as vocal
dignity, that comes only with experience.

London has supplied good notes on the music but,
unfortunately, did not see fit to furnish the texts.
Good recorded sound. W.

Classical Arias. Gerard Souzay (baritone) with l'Or'
chestre de la Societe des Concerts du Conservatoire
de Paris conducted by Robert Cornman. MO" disc
(*L'LS'730) $4.95.

CONTENTS: Mentre ti lascio, 0 figlia, K. 513
(Mozart); II Sedicia — Caldo sangue (Scarlatti, A.);
A Iceste — Air de Caron (Lully); Cadmus et Her'
mione — Air de Cadmus (Lully); Les Pelerins de la
Macque — C'est un torrent impetueux (Gluck); Cas'
tor et Pollux — Nature amour (Rameau).

Schubert Recital. Gerard Souzay (baritone) accom'
panied by Jacqueline Bonneau (piano). MO" disc
(*L'LS'655) $4.95.

CONTENTS: Der Jungling und der Tod; Der
Jiingling an der Quelle; Der W anderer an der Mond;
Ihr Bild; Liebesbotschaft; Der Schiffer; Ganymed;
Erster Verlust; Die Forelle; Hacht und Traume.

The first of these two discs by the excellent French
baritone, Gerard Souzay, is devoted to “classical
arias" (i.e., Mozart, Scarlatti, Lully, Gluck and
Rameau). Lumping together such different com'
posers under the general heading “classical" is both
dangerous and misleading. The Mozart piece is
“classic" only in the use of a stilted, horrendous
text, the music is vibrant and alive although its
meaning and proper projection elude both M. Souzay
and his conductor. The other music, being more
conventional and on a lower artistic plane (opera
seria ), is less difficult since no amount of artistry
could galvanize it into life. The various arias
remain corpses, fascinating (if that is the proper
word) as relics of a bygone era, but little more.
Both soloist and conductor are happier in these
latter pieces and the results are entertaining.

Of much more musical interest and artistic merit
is the Schubert recital, wherein Gerard Souzay re'
veals his great natural gifts as a lieder singer. The
selection of material is very good, too, being a happy
choice between the familiar and the unfamiliar. AH
are superbly sung, and it is in the better known
songs, such as Die Forelle and Der Wanderer, that
Souzay rises to the occasion, for here competition,
as it were, is keen, but he has nothing to fear — his
singing of these songs can stand comparison with
the very best. Particularly worthy of note is his
exquisite and expressive singing of the autistic Hacht
und Traume. Mile. Bonneau's accompaniments fit
like the proverbial glove and the disc deserves a wide

• Indicate! LP 83 }/$ rpm.
t fy Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 10

AUGUST

T he Nm Records ^

hearing. Texts and translations, albeit in London's
“copyright" fine print, are supplied. W.

Old Italian Airs. Giacinto Prandelli (tenor) accom*
panied by Dick Marzollo (piano). IT 2" disc
(*VX'PL'7930) $5.95.

CONTENTS: Su, venite a consiglio (Scarlatti);
Pur dicesti, o bocca bella (Lotti); Vergine, tutto
amor (Durante); Ah se tu dormi ancora (Bassani);
Sebben, crudele (Caldara); Intorno all idol mio
(Cesti); Caro mio ben (Giordani); Sento nel core
(Scarlatti); Paride ed Elena — Ol del mio dolce ardor
(Gluck); Lasciar d’amarti (Gasparini); Che fiero
costume (Legrenzi); Tre giorni son che T^ina (Per'
golesi); Vittoria, mio core! (Carissimi).

Canzone Scordate (“Forgotten Songs"). Gerard
Souzay (baritone) accompanied by Jacqueline
Bonneau (piano). 1T2" disc (*L'LL'731) $5.95.
CONTENTS: (7) Italian Monodies (1609' 1634);
(5) A. Scarlatti Songs (1659T725); (4) Sacred
Songs (1629T700); (3) C. P. E. Bach Songs (1714'
1788).

The many treasures of old Italian music are
being brought forth these days in abundance, if not
in all their glory, and at least one can recognize
some of the grandeur of the extraordinary minds
that called them into being.

Giacinto Prandelli, a tenor of more than passing
musical intelligence, sings thirteen assorted arias
with polish and accuracy. Some of the pieces will be
familiar to phonophiles in recordings by Gigli
(notably the Sebben, crudele; Vergine, tutto amor;
and Carissimi's lovely Vittoria, mio core to mention
but a few) and, while Prandelli has neither the vocal
equipment nor the experience of his elder and more
famous counterpart, he does not suffer unduly by
comparison.

The chief criticism one can offer about this record
(and also about the one reviewed below) is to
deplore the use of a piano for the accompaniments.
The use of a small chamber orchestra (or at least
a harpsichord!) would be infinitely preferable. The
piano is not only anachronistic, it detracts from the
spirit and style of the music.

London’s offering is one of the least successful
in this field, and yet it could have been outstanding
with a little care and imagination. To begin with,
the seven Italian monodies are not identified. Care'
ful reading of the notes, written by arranger Dorums'
gaard, indicates that they are songs (or maybe arias)
by Peri, Calestani, DTndia, Caccini (2), Rontani
and Falconeri — but one has to guess which band
contains which, for the label merely reads “Seven
Italian Monodies." (And, as Shakespeare tersely
put it “We need no ghost come from the grave to
tell us that!"). The four sacred songs are by Helder,
Corner, Georg Bohm (one of J. S. Bach's teachers)
and Daniel Vetter — all truly forgotten composers.
C. P. E. Bach's songs, three of which finish out the

second side, are characteristic — that is, a little dull,
scholarly and sincere.

Gerard Souzay sings the majority of the music
with everything but the necessary touch of imagina'
tion that would lift the disc into the category of
memorable. As it is, the almost complete lack of
identification (despite the copious and strangely
uninformative notes by Dorumsgaard — in exceedingly
fine print, by the way) plus the absence of texts
make the disc at once difficult and annoying. W.

Britten: (4) Songs. One side, and Hindemith: (9)

English Songs (1942). Barbara Troxell (soprano)

accompanied by Tibor Kozma (piano). IT 2* disc

(*WCFM'LPT5) $5.95.

CONTENTS: On this Island (song cycle), Fish
in the Unruffled La\es, Mother Comfort, Underneath
the Abject Willow (Britten); (9) English Songs
(1942) (Hindemith)

One of the smaller recording companies who can
always be counted on to issue records that have
both musical and artistic merit is the WCFM Record'
ing Corp. This, their fifteenth release, is no excep'
tion; the choice of material is unhackneyed, and the
presentation is all anyone could ask for.

The Britten song cycle, a setting of five poems by
W. H. Auden, is one of the better examples of song
writing in the modern manner. This does not mean,
however, that the music is cacophonous; on the
contrary, there are an almost classic simplicity and
a musical understatement that is very effective. The
same characteristics are evident in the other songs
and in the Two Ballads for two voices and piano.
The idea of having Miss Troxell sing both parts is
not too good for, despite the two sounds, it is still
the same voice and some of the effectiveness of the
ballads is lost.

The Hindemith items are settings of various Eng'
lish and American poets, ranging from William Blake
and Thomas Moore to Shelly, Walt Whitman and
Francis Thompson. The nine songs vary in musical
texture and cover a wide range of emotional content
from the dramatic The Moon to the charming Echo.
Humor, not usually one of Hindemith’s musical
characteristics, is evident in The Whistling Thief
and a certain mordant wit is noticeable in the sub'
jective On a Fly Drinking Out of His Cup.

Miss Troxell exhibits considerable vocal mastery
as well as a more than passing degree of imagination
in handling the sometimes difficult material. The
many divers moods are captured and projected with
a sureness that speaks highly for Miss Troxell's
musical intelligence. Vocally, of course, her accurately
placed and well produced lyric soprano is always
pleasant and adds charm and distinction to the
songs. Tibor Kozma is always the able accompanist,
seconding the soloist’s efforts in a sure, but never
aggressive, manner. Since none of this music has
ever been recorded before the informative notes
are a decided asset, as is the fine recording. W.

• Indicates J.P 88 rpnr
0 indicates 45 rpin

PAGE II

"THE WORLD'S RECORD SHOP"

AUGUST

The Nezp R ecords

1953

Beethoven: An die feme Geliebte, Op. 98. (Sung
in German). Heinrich Schlusnus (baritone) ac'
companied by Sebastian Peschko (piano). One
side, and Brahms: (4) ernste Gesange, Op. 121.
(Sung in German). Dietrich Fischer-Dieskau
(baritone) accompanied by Hertha Klust (piano).
M2" disc (*D-DL-9668) $5.85.

Beethoven’s song cycle An die {erne Geliebte and
Brahms’ Vier ernste Gesange each receive its fifth
recorded performance on this new Decca release.

The art of the late Heinrich Schlusnus has been
much admired in some quarters, and nothing this
reviewer could write would change the opinion
of those admirers; yet, as one hears this recording,
one wonders what it is that made so many people
praise his singing? Certainly the voice was a beau'
tiful one, but surely there is more required of a
singer? (This all has a familiar ring — one has writ'
ten in a similar vein before). As an example, take the
third song Leichte Segler in den Hohen that is sung
here in a jerky, bouncing manner that only makes it
ridiculous. No, Herr Schlusnus is not for this listen-
er’s ears and, if comparisons are indicated, hear
Alfred Poell on Westminster (TNR June ’52) sing
this beautiful cycle and reveal all its charm and
poetry.

Quite a different affair is Dietrich Fischer-Dieskau’s
virile singing of the Vier ernste Gesange. This per-
formance outranks the other four by a considerable
margin, the closest competition being furnished by
Kathleen Ferrier on a London disc (TNR Apr. ’51).
Dietrich Fischer-Dieskau is a very talented young
man with a flexible, colorful bass'baritone. His
understanding is of a high order, and this recorded
performance of these songs, the product of Brahms’
sixty'third year, is a compelling one. Outstanding
is the wonderful Wenn ich mit M enschen und
Engelszungen redete. Expert accompaniments are
supplied by Hertha Klust.

The recording is good, if not exceptional and
better than average notes are supplied on the jacket.
As is too frequently the case, however, the texts
are not supplied. W.

Schubert — arr. Berte: Das Dreimaderlhaus. (Sung
in German). Soloists, Akademie Kammerchor and
Vienna State Philharmonia conducted by Karl
von Pauspertl. 1-12" disc (*VX-PL- 20800) $5.95.

Suppe: Die Schone Galathee (‘‘The Beautiful
Galatea”). (Sung in German). Soloists, Akademie
Kammerchor and Vienna State Philharmonia con'
ducted by Hans Hagen. M2" disc (*VX'PL'
20200) $5.95.

Messager: Veronique. (Sung in French). Soloists,
Raymond St. Paul Chorus and Lamoureux Orches'
tra conducted by Jules Gressier. M 2" disc ( *VX '
PL'21 100) $5.95.

This month we have recordings of three light
operas that have stood the test of time and are

still popular in Europe. . . . Das Dreimaderlhaus
dates from 1916 and its first run in Berlin ran to
over 500 performances. The story is based on mythi-
cal incidents in the life of Franz Schubert, and the
music consists of arrangements of the melodies of
that great composer. This abridged recording is quite
delightful. . . . Die Schone Galathee dates from
1865 and is one of Suppe’s most popular operettas.
It is in one act and we believe that the present
recording is a complete one. The artists are well
qualified for their task, and the reproduction through'
out is excellent. . . . Veronique was first produced
in Paris in 1898 and an English adaptation was quite
successful in both London and the United States
in the early 1900’s. As it is a three'act comic opera
the present recording is an abridged version. It has
many gay tunes and should prove a pleasing novelty
to present'day music lovers.

British Traditional Ballads in America. Shep Gin'
andes (vocal and guitar). M0" disc (*ELEKTRA
EKLP'4) $4.45.

CONTENTS: The Golden Willow Tree (in
English); The Cruel Mother (in English); Lord
Bateman (in English); Edward (in English); Lord
Randall (in Welsh); Lord Thomas and Fair Elinor e
(in English).

English Folk Songs. Wallace House (vocal and
guitar). M0" disc (*FOLK-FP-823) $4.45.
CONTENTS: I'm Seventeen Cum Sunday; On
IlJ{ley Moore; The Lover's Departure; Poachers of
Lincolnshire; Old Farmer Buc\; Because I Were Shy;
Herchard O’ Taunton Dean; Tally Ho! My Sports'
men; Johnny, My Jingalo; The Eddystone Light;
Turmut Hoeing; ]ac\ Hall; AA Hope Te’ll Be
Kind to Me Dowter; Bar\shire Tragedy; The Derby
Tup; Jan’s Courtship.

Anglo-American Ballads. Hermes Nye (vocal and
guitar). MO" disc (*FOLK'FP-37) $4.45.
CONTENTS: John Peel; The Mermaid; Earl
Richard; Earl of Murray; The Red Herring; Green'
land Fisher; Bailiff’s Daughter; A Worth Country
Maid; King Arthur Had Three Sons; Tomorrow is
St. Valentine’s Day.

Lack of space permits us merely to list the above
records. We have, however, indicated their con'
tents which we hope will sufficiently identify them
for collectors of folk recordings.

"Deep River.” William Warfield (baritone) with
the Columbia Symphony Orchestra conducted by
Lehman Engel. 1-10" disc (*C'AAL'32) $2.85.
CONTENTS: Deep River; Water Boy; Without
a Song; M ah Lindy Lou; Jeanie with the Light
Brown Hair; Dusty Road.

There is always a demand for recordings by
the great Negro baritone, William Warfield, and
so we are sure that there is a waiting demand for

Indicate! LP 83 rpm.

H. ROYER SMITH COMPANY

PASS 12

AUGUST

The New Records

1953

the present disc. This should be especially true
because Mr. Warfield has chosen for this record
several selections for which he is particularly famous.

A Roland Hayes Recital. Roland Hayes (tenor)

accompanied by Reginald Boardman (piano).

M2" disc (*A'44(M2'3) $5.95.

CONTENTS: Have you seen but a white lilie
grow (Old English); Come again, Sweet Love doth
now invite (Dowland); Greensleeves (Old English);
Orfeo — Vi ricordo o bosch’ ombrosi (Monteverdi);
Tamerlano — Figlia mia, non pianger no (Handel);
W arnung, K. 433 (Mozart); Wonne der W ehmuth,
Op. 83, Ho. 1 (Beethoven); Du bist die Ruh\ Op.
59, Ho. 3 (Schubert); W ohin?, Op. 25, Ho. 2
(Schubert); H^cht und Trdume, Op. 43, Ho. 2
(Schubert); Auch \leine Dinge (Wolf); Beau soir
(Debussy); M icheu Banjo (Creole Folksong — arr.
Nickerson); Poeme Persiano (Santoliquido) ; To
people who have gardens (Scottish Folksong — arr.
Hopekirk); (3) Aframerican Religious Folksongs
(arr. Hayes); (5) Hegro Wor\songs (arr. Hall).

This LP disc presents the many facets of the
great art of the distinguished Negro singer, Roland
Hayes. Beginning with a group of Old English
Folksongs Mr. Hayes continues through Monteverdi,
Handel, Mozart, Beethoven, Schubert, Wolf, De'
bussy and concludes with a cycle of Negro Work'
songs. With this disc we have a perfect picture
of this artist. Everything he touches is marked with
his fine sense of style and is presented in the best
of taste. This is not a record of the singer, Roland
Hayes; it is a highly diversified concert by an artist
of the first rank. There is a difference.

Russian Arias. Boris Christoff (bass) with the Phil'
harmonia Orchestra. One side, and Russian Songs.
Boris Christoff (bass) accompanied by Gerald
Moore (piano). 4'7" discs in box (0V'WHMV'
1033) $5.14. $1-1 2" disc (*V'LHMV'1033)

$5.72.

CONTENTS: Legend of the Invisible City of
Kitezh — Prince Youri’s Aria (Rimsky'Korsakov) ;
Khovantchina — Dositheu’s Aria (Moussorgsky) ; Eu'
gen Onegin — Prince Gremin’s Aria (Tchaikovsky);
Song of the Volga Boatman (trad.); The Prophet,
Op. 49, Ho. 2 (Rimsky'Korsakov); Softly the Spirit
Flew up to Heaven (Moussorgsky); Field Marshal
Death (from “Songs and Dances of Death”)
(Moussorgsky); Siberian Prisoner’s Song (trad.);
The Grave (Moussorgsky); Song of the Flea (Mous'
sorgsky).

Very infrequently a young singer appears who
bears the stamp of greatness, both vocally and
artistically. Such an artist is the youthful Bulgarian
basso, Boris Christoff. Still in his early thirties,
Christoff has, from his very first recordings, exhibited

his mastery of vocal techniques and shown a dramatic
flair, a knowledge of style and an ability to “act”
musically. His great achievement in this direction
was, of course, the wonderful recording of Boris
Godounoff.

This present disc, a further sampling of his varied
art, is an impressive one. Here unfamiliar music
rubs shoulders with the very familiar (almost trite),
and it is a tribute to his great interpretive ability
that both kinds of music sound fresh, are of genuine
interest and are, on all counts, convincing. The aria
of Prince Youri from Rimsky'Korsakov’s Legend of
the Invisible City of Kitezh is admirable music, son'
orously sung. The Khovantchina excerpt is superb,
one of those long monologues Moussorgsky delighted
in and which repays so well careful and repeated
hearings. Tchaikovsky’s Eugen Onegin deserves
more hearings and the aria recorded here is both
an eye' and ear'opener. The songs are treated in an
equally dramatic manner; and properly too, for with
few exceptions they could be operatic excerpts.

Christoff’s voice is a great natural deep bass that
is musical and uncommonly impressive. Comparisons
are frequently being drawn between this young artist
and the late Feodor Chaliapin. A resemblance cer'
tainly exists; but, for this writer, Christoff has every
bit as much vocal equipment as Chaliapin plus a
greater sensibility and more musicianship — in short
he is less of a personality and more of an artist.

The recording is good, but the notes are hardly
worthy of the name. W.

Smetana: The Bartered Bride (complete). (Sung
in Czech). Milada Musilova, Jarmila Pechova
(sopranos); Oldrich Kovar, Ivo Zidek (tenors);
Karel Kalas (bass); Chorus and Orchestra of the
Prague National Theatre conducted by Jan Vogal.
3' 12" discs in album (*UR'URLP'231 ) $18.50.
Proponents of opera sung in its original tongue
can enjoy making a very interesting comparison with
this issue of Smetana’s ever green The Bartered
Bride. Whether one prefers Prodana Hevesta or
Die Ver\aufte Braut is, of course, a matter of
personal taste, aesthetics or emotion. The present
writer has always felt that any opera carries a greater
impact when sung in its original tongue and thus is
predisposed to favor this present recording of
the Bartered Bride over the earlier issue, also by
Urania, in German.

There is little to chose from between the two
sets insofar as vocalists are concerned. In the present
recording, however, the cast is drawn from among
native Czech singers who understand the idiom and
thus are able to infuse more naturalness and vivacity
into the proceedings. This is important, particularly
in view of the fact that there are no outstanding
voices in the cast. Milada Musilova is a sprightly
Marenka with an acceptable lyric soprano. Jenik is
sung by Ivo Zidek, an average tenor who has some
difficulties with his upper register. When he can

PAGE 13

"THE WORLD'S RECORD SHOP*'

indicate* LP S$y 3 rpm.
0 indicate* 46 rpm

AUGUST

like N ew Records

1953

stay below an A, he does very well indeed. Kecal,
the marriage broker, is portrayed by a fuzzy sort
of bass named Karel Balas, who improves as the
opera proceeds. Others in the long cast are of vary'
ing degrees of excellence.

What holds this performance together and gives
it conviction, however, is the spirit with which each
member of the cast enters into his particular job.
The result is a production that can be truthfully
described as enjoyable. Naturally, much of the credit
for this state of affairs is due Jan Vogal for his
strong and musicianly direction. The chorus is
excellent throughout.

Urania's recording is good, but not of the very
high order of the Mefistofele or Lohengrin sets.
Nonetheless, it is eminently listenable. An added
feature is supplied by the erudite and readable notes
on Smetana and the Bartered Bride by Abraham
Veinus. W.

Vivaldi: Serenata a Tre (“La Ninfa e II Pastore”).
(Sung in Italian). Grete Rapisardi'Savio (so'
prano); Silvana Zanolli (mezzo'soprano) ; Alfredo
Bianchini (tenor); Orchestra da Camera di Milano
conducted by Edwin Loehrer. 1'12* disc (*VX'
PL'7990) $5.95.

Shortly, (as history goes) after the invention of
opera by the Florentine camarata, a group of men
decided that opera would be good entertainment for
the general public. To this end they opened a
theatre in Venice, a city chosen because it was run
by wealthy business men and a few noble families —
no court nor royalty. It was not long before opera
became the rage and, of course, also became stereo'
typed. It was necessary for composers who wanted
their works performed to write in the prevailing style;
but they (and the more intelligent among the audi'
ence) soon tired of the same stylized pieces, so both
groups turned to a new form, the chamber opera
or serenata. It was in this form that the experiment'
ing was done — that a new and more advanced style
was created.

Such a work is Vivaldi's La ?{infa e II Pastore.
The libretto is a collection of arias and recitatives
that, while flowery and somewhat stilted, provides a
serviceable frame upon which Vivaldi may hang
some of his most graceful melodies. The singers
are all excellent artists, particularly Grete Rapisardi'
Savio who sings with a musical acumen that is rare
in these days. Seconding her efforts is Silvana Zanolli,
a thoroughly satisfying second soprano. Alfredo
Bianchi is a good, if not exceptional tenor vocally.
What is exceptional, however, is his good taste and
musical understanding.

The work was prepared for modern presentation
by Vito Frazzi, who has done a tasteful job, partial'
larly in the orchestration. Especially felicitous is the
use of horns in the aria Alla caccia d’un cuore spie '
tato. Conductor Loehrer and the Milan Chamber
Orchestra play with finesse and spirit. The whole

recording is a worthy addition to the swelling list
of Vivaldi, in particular, and to baroque music in
general. First class recording, informative notes and
the complete text (Italian'English) are supplied.
Viva Vox! W.

Charpentier: Medee (excerpts). Vocal and Instru'
mental Ensemble directed by Nadia Boulanger.
M2* disc (*D'DL'9678) $5.85.

Marc' Antoine Charpentier (1634'1704) spent
the first fifty years of his life in the shadow of Lully,
the dominating figure of the time, and both he and
his music have remained in relative obscurity ever
since. This reviewer has always been fascinated by
the music of obscure and forgotten composers (there
are literally tons of unpublished musical manuscripts
in various European libraries and museums) — what
did they lack? Were they ahead of or behind their
times?

Charpentier's Medee is a work in point. Here is
an opera two hundred and sixty years old — not too
great a success when first performed (even two
hundred and sixty years ago they were blaming the
librettist!); but contemporary criticism acclaimed
the music. To modern ears the music is, of course,
quite simple, melodious and singularly undramatic.
For French music it has a peculiarly Italianate flavor.
As a pupil of Carissimi, however, Charpentier was
well grounded in the Italian style and therefore never
succumbed to the influence of Lully (whom he dis'
liked intensely). Thus, in a curious reversal of
national attitudes Charpentier, the native French
composer, upheld in France the Italian style against
the French style of Lully, the native Italian.

The excerpts performed here by excellent soloists
and a small orchestra under Nadia Boulanger are
genuinely interesting. There are Handelian echos,
pastoral melodies all tastefully conceived and guar'
anteed to entertain. The soloists include such well'
known voices as those of Paul Derenne and Doda
Conrad as well as some newer and equally fine
singers such as Irma Kolassi (a light contralto),
Nadine Sautereau and Flore Wend (two fine so'
pranos). The production sounds authentic although
some editing has been done.

It is unfortunate that Decca did not see fit to
supply any texts nor make available any information
about the condensation or the very probable arrange'
ment of the score for modern voices and instruments.
The disc is well recorded and notes on the composer
and the story of the opera are included. W.

Operatic Recital. Delia Rigal (soprano) with or'
chestra conducted by Juan E. Martini. 1'10" disc
(*D'DL'4060) $2.50.

CONTENTS: Tosca — Vissi d'arte; Gioconda —
Suicidio!; Pagliacci — Ballatella; Cavalleria Rusticana
— Voi lo sapete; Wally — Romanza di Wally; Traviata
— Addio del passato.

Delia Rigal, the young Argentinian dramatic

• Indicate* LP 8SV3
^ indicate* 45 n>m.

H ROYER SMITH COMPANY

PAf* 14

AUGUST

T he New Ikecords

1953

soprano who made her Metropolitan debut some
few years ago as Elisabeth in Verdi’s Don Carlo,
makes a rather unimpressive recording debut here,
singing six well-known operatic arias.

Miss Rigal has lots of voice, but when she pushes
it, as she occasionally must, it develops a disconcert'
ing wobble. This is particularly noticeable in the
Wally and Gioconda excerpts. In addition her style,
especially as concerns dramatic interpretation, is
immature and consists of the gasp and gulp that
formerly passed for emotion in opera. Diverse as
the characters and music are, there is a singular
monotony about the record: Nedda, Violetta and
Santuzza all bear a startling resemblance to each
other and to Miss Rigal.

For anyone who has heard this music sung by
a great singer (Muzio, for example, or Milanov,
to mention a contemporary) the disc will have little
charm. Bargain hunters will find the price attractive
but the contents are on a par with the cost. As usual,
one gets what he pays for.

The recording is a bit on the shrill side and no
notes of any description are furnished. W.

Wagner: Tristan und Isolde (complete). (Sung in
German). Kirsten Flagstad (soprano); Blanche
Thebom (mezzo-soprano); Ludwig Suthaus, Ru-
dolf Schock, Edgar Evans (tenors); Dietrich Fis-
cher-Dieskau, Rhoderick Davies (baritones); Josef
Greindl (bass); Chorus of the Royal Opera House,
Covent Garden, and the Philharmonia Orchestra
conducted by Wilhelm Furtwangler. 6-12" discs
(manual sequence only) (*V- ALP- 1030/5)
$43.80.

NOTE: This set arrived from England just as
we were to go to press; it will be reviewed in the
September issue.

HARPSICHORD

Soler: Sonatas for Harpsichord. Fernando Valenti
(harpsichord). 1-12" disc (*WEST-WL-5196)
$5.95.

CONTENTS: Sonatas No. 4 in D minor; No. 5
in D; No. 7 in D; No. 11 in G minor; No. 9 in
D'flat; No. 1 2 in F'sharp; No. 3 in C minor; No. 1
in D minor; No. 2 in A minor; No. 10 in F.

Harpsichord Music of the Spanish School of
Domenico Scarlatti. Fernando Valenti (harpsi-
chord). 1-12" disc (*AL-AL-45) $2.95. (TNR
Oct. ’50).

Assumedly a pupil of D. Scarlatti and certainly
his most talented disciple, Soler lacks the transcendent
artistry and ingenuity that was his mentor’s. We
might say even that a whole LP devoted solely to
Soler’s Sonatas would appeal only to those eminently
concerned with Spanish music of his period; for in
the sublimation of folk melodies for artistic ends,
much of Soler’s work remains earth-bound in banality.

Valenti's playing (it goes almost without saying
at this date) is expert.

The second item listed above (*AL-AL-45) was
reviewed in our October 1950 issue, and is listed
here primarily to bring to our readers’ attention
the new, low price of Allegro discs. All five of the
Soler Sonatas on the Allegro recording have been
repeated on Mr. Valenti’s Westminster issue to an
advantage, slightly musical but fundamentally repro-
ductive, since the fidelity of the original recording
is hardly a match for that of the newer one. C.

Bach: (6) English Suites. Fernando Valenti (harp-
sichord). 3-12" discs in album (*WEST-WAL-
305) $18.50.

This is a companion set to Valenti’s recording of
Bach’s (6) French Suites (*WEST-WAL-310)
which was reviewed in our April 1953 issue. It is,
of course, a connoisseur’s item — those who were
interested in the previous release will surely find the
present set worthy of their attention. Valenti is un-
questionably in the front rank of present-day harp-
sichordists, and Westminster has supplied superb
reproduction.

We might mention that, as with the previous set,
there is included with the present recording a very
nicely printed booklet containing the miniature scores
of the six English Suites.

Piano Music of Debussy. Menahem Pressler (piano).
1-10" disc (*MGM-E-178) $3.

CONTENTS: Estampes; Reverie ; Arabesque No.
1; Arabesque No. 2; La Plus que Lente (Valse).

Piano Music of Debussy. George Copeland (piano).
1-12" disc (*MGM-E-3024) $4.85.
CONTENTS: Clair de Lune; Minstrels; After'
noon of a Faun; Sun\en Cathedral; Danse Sacree;
Pour le Piano — Prelude; Feuilles M ortes; Hommage
a Rameau ; La Boite a joujoux — Ronde (Debussy).
Les Grands Seigneurs (Rameau). Gymnopedie No. 3
(Satie).

Debussy: (6) Epigraphes Antiques. One side, and
Ravel: Ma Mere l’Oye. Gino Gorini and Sergio
Lorenzi (duo-pianists). 1-12" disc (*CSM-CLPS-
1026) $5.95.

On these three recent LP discs we have a wealth
of Debussy keyboard music played by artists of the
first rank. The first disc presents the young German
pianist, Menahem Pressler, who, upon his first visit
to the United States, won the $1,000 Debussy prize
at the San Francisco International Music Contest in
1946. Pressler was theif eighteen years of age.
Since that time he has appeared with a number of
the most important symphony orchestras in this
country — during the 1947-48 season he appeared
five times with the Philadelphia Orchestra. . . .

PAGE 15

"THE WORLD'S RECORD SHOP"

tadleatot LP SS^ rpro.

AUGUST

1953

T he Nm R ecords

The next disc on the list contains superb renditions
by George Copeland, who is justly celebrated for
his interpretations of Debussy. . . . The last disc will
introduce to American music lovers the very distin'
guished young Italian duo of Gino Gorini and
Sergio Lorenzi. We were very much impressed with
their playing and urge American music lovers to
lend an ear to this their first record to be made
available in this country.

DICTION

"Conquest by Love.” The Voice and Teaching of
Mahatma Gandhi, with Albert Einstein and Jawa'
harlal Nehru. Narration by Krishna Menon. DIO"
disc (^HERITAGE HG'0050) $4.85.

Gandhi’s friend and follower, Krishna Menon,
has pieced together various recordings of the great
Indian leader and has inserted recordings of re'
marks by Nehru and Einstein to make this very
unusual and inspiring recording. From the notes
that accompany this LP disc we quote the following:

“This is a dramatic presentation of the basic
thoughts of Mahatma Gandhi. This is a glimpse
into the realm of his belief. It is nothing more, and
nothing less. For those who do not know, it will
help to clarify. For those who believed and fob
lowed, it will serve as a confirmation of that belief.’’
All of the spoken text is in English.

Sandburg Reads Sandburg. Carl Sandburg, reading
his own poetry. DIO" disc (*D'DL'7541) $3.85.
CONTENTS: Grass ; Primer Lesson; Cheap Blue;
Put the City Up; Fire Logs; Southern Pacific;
Prayers of Steel; Over the Bridge; Upstream; Sea
Wash; Bilbea; Father and Son; Cool Tombs; Tall
Grass; Wilderness For You.

The title of this recording fully describes this
record. It is simply a series of readings by Carl
Sandburg which he has selected from some of his
various poems. We have listed the selections above;
and, for those who are familiar with the welbbeloved
poet’s voice, to listen to this disc is to have Mr.
Sandburg in one’s very presence.

Meditations. William Primrose (viola) and Vernon
de Tar (organ). DIO" disc (*C'AAL'33) $2.85.
CONTENTS: Ave Maria (Schubert'Primrose) ;
Litany for All Souls Day (Schubert'Primrose);
Komm susser Tod (Bach'de Tar); Herzlich thut mich
verlangen, Op. 122 (Brahms'de Tar).

These recordings, which were made in the Church
of the Ascension (New York), are very likely
intended for the quiet hour when one wishes to
get away from the turmoil of the busy day and
relax in an atmosphere of peace and repose.

The World’s Encyclopaedia of Recorded
Music . By Francis F. Clough and G. J.
Cuming. 890 pp. Sidgwick and Jackson,
Ltd. (London). Price $17.50.

The 7<[ew Catalogue of Historical Records
1 898' 1908/09. Compiled by Robert Bauer.
494 pp. Published in England. For sale in
U. S. A. by H. Royer Smith Co. (Philadeb
phia). Price $7.25.

The Gramophone Shop Encyclopedia of Re '
corded Music (Third Edition) . Robert H.
Reid, Supervising Editor, 639 pp. Crown
Publishers (New York). Price $2.95.

The Victor Boo\ of Operas. Revised and edited
by Louis Biancolli and Robert Bagar.
xxiv-f- 596 pp. Illustrated. Simon and
Schuster (New York). Price $5.

Victor Boo\ of Concertos. By Abraham Veinus.
xxv -f* 450 pp. Simon and Schuster (New
York). Price $3.95.

Collectors’ Guide to American Recordings
1895 '1925. By Julian Morton Moses.
Foreword by Giuseppe De Luca. 200 pp
Published by the author. Price $3.75.

I Hear You Calling Me. By Lily McCormack.
201 pp. Illustrated. The Bruce Publishing
Co. (Milwaukee). Price $2.75.

Records: 1950 Edition. By David Hall, ix +
524 + xx pps. Alfred A. Knopf (New
York). Price $6.

NOTE: All the above books have been reviewed
in previous issues of The "Hew Records. If your local
dealer does not stock them, orders addressed to H.
Royer Smith Co., Philadelphia 7, Pa., will be promptly
filled. The prices quoted include postage to any point
within U.S.A.

TfieflMt Jettcrsn the record number Indicate the manufacturer: AL— Allegro, BG— Bach Guild, C— Columbia, CE— Cetra, CH— Concert
., S °r* e u ty ; CL— Capitol, CSM— Colosseum, CRS— Collector’s Record Shop. D— Decca, DL— Dial, ESO— Esoteric, FEST— Festival,
F U 0L K— Ethnic Folkways Library, G IOA— Gregorian Institute of America, HS— Hadyn Society, L— London Gramophone. LYR — Lyrl-
chord, ME— Mercury, OC— Oceanic, OL—L Oiseau Lyre, PE— Period, PH M — Philharmonia, PLM— Polymusic, REN— Renaissance, SOT—
Sounds of Our Times, STR— Stradivari, UR— Urania, V— Victor, VAN— Vanguard, VX— Vox, and WEST— Westminster.

Indicates LP 83^4, rpm.
$ Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 16

The New "Records

A BULLETIN FOR THOSE INTERESTED IN RECORDED MUSIC

Issued Monthly by

H. ROYER SMITH COMPANY

“The World 9 $ Record Shop 99

I OTH & WALNUT STREETS .... PHILADELPHIA 7, PA., U. S. A.

VOL 21, No” SEPTEMBER, 1953 * ow>n #0

TRANIA RECORDS, Inc., has recently
announced a rather unique disc which
they call a "High Fidelity Demonstration Rec'
ord.” Unlike other “test” records which con'
tain constant tone frequencies, thermal (white)
noise, etc., this disc has real music on it — and
very enjoyable music, too!

Urania has selected portions of records
already issued which demonstrate the best of its
recording techniques, and has placed them all
on one record. The contents are: Mefistofele —
Opening (Act I) (Boito) ; Das Rheingold — Em
trance of the Gods into Valhalla (Wagner);
Die V/al\iire — Ride of the Valkyries (Wag'
ner); Die G otter ddmmerung — Finale (Wag'
ner); Three'Cornered Hat — Opening (Falla);
Swan La\e — Spanish 6? Neapolitan Dances
(Act III) (Tchaikovsky) ; La Gioconda —
Dance of the Hours (Ponchielli) ; Symphonic
Minutes — Rondo (Dohnanyi) . In addition,
there are five bands containing the following
constant tone frequencies: 30 cycles per second,
50 cps, 100 cps, 1000 cps, and 10,000 cps.
These last, however, are very short — taking less
than one'half inch for the five bands.

Many persons, anxious to demonstrate their
hi'fi equipment, select bits of their favorite rec'
ords to play for their friends; such things as
cymbal crashes, tympani rolls, and unmuted
strings afford a rather sensational show. Here
Urania has done this for you; you simply place
this High Fidelity Demonstration Record on
your turntable and let it play all the way
through.

If your local dealer cannot supply this disc,
orders addressed to the publishers of this bulk'
tin will be promptly filled. Record Number
*UR'URLP'7084; price, $4.17.

BACK COPIES

We are continually receiving requests for

back copies of The New Records. Most of
the issues published during the last twenty
years are available. The price is 10c each. A
file of all of the available issues (at least 140
copies) is $5. These prices are postpaid within
U.S.A.

NOTE: Those persons interested in recent
recordings only may secure all of the issues of
the last three years beginning September 1950
(36 copies) at the special price of $2 (postpaid
within U. S. A.).

NEW LP RELEASES

Rossini: II Barbiere di Siviglia (highlights). Giuletta
Simionato (mezzo-soprano); Luigi Infantino
(tenor); Giuseppe Taddei (baritone); Antonio
Cassinelli, Carlo Badioli (bassos); EIAR Chorus
and Orchestra — Previtali. 1-12" disc (*CE-
A50140) $5.95. (TNR May ’51).

Donizetti: Lucia di Lammermoor (highlights). Lina
Pagliughi, Giuseppe Manacchini, Luciana Neroni,
Giovanni Maliperro, Armando Giannotti, Maria
Vinciguerra, with EIAR Chorus and Orchestra —
Tansini. 1-12" disc (*CE-A50139) $5.95. (TNR
Oct. '47).

Haydn: Concerto in D for * Cello and Orchestra.
Emanuel Feuermann (violoncello) with Symphony
Orchestra — Sargent. One side, and Schubert:
Sonata in A minor (“Arpeggione”). Emanuel
Feuermann (violoncello) and Gerald Moore
(piano). 1-12" disc (*C-ML-4677) $5.45. (TNR
July '36 and Jan. '39).

Beethoven: Sonata J^o. 3 in A, Op. 69. Emanuel
Feuermann (violoncello) and Myra Hess (piano).
One side, and Beethoven: (7) Variations in E'flat
on “ Bei Mannern.” Emanuel Feuermann (violon-
cello) and Theo van der Pas (piano). And Reger:
Suite in G for ’ Cello Solo. Emanuel Feuermann
(violoncello). 1-12" disc^ (*C-ML-4678) $5.45.
(TNR Jan. '38 and Jan. '40).

Romberg: The Desert Song (excerpts). Nelson Eddy
with supporting cast, chorus and Orchestra —
Engel. 1-10" disc (*C-AAL-37) $2.85. (TNR
July '53).

SEPTEMBER

T he Nm Records

1953

OVERTURES ON RECORDS

Orchestral Favorites by Strauss and Offenbach.

Strauss Orchestra conducted by Franz Lanner.
1*12" disc (*MGM*E*3032) $4.85.

CONTENTS: Blue Danube Waltz, Tales from
the Vienna Woods, Voices of Spring, Emperor
Waltz, Die Fledermaus — Overture (Strauss); Or'
pheus in the Underworld — Overture; Tales of Hoff'
man — Barcarolle (Offenbach).

French Orchestral Music. L’Orchestre de la Suisse
Romande conducted by Ernest Ansermet. IT 2"
disc (*L*LL*696) $5.95.

CONTENTS: Danse Macabre, Op. 40 (Saint*
Saens); Le Rouet d’Omphale, Op. 31 (Saint*Saens);
Marche Joyeuse (Chabrier); Pavane pour une infante
defunte (Ravel); Espana (Chabrier).

Rimsky-Korsakov: Russian Easter Overture. And
Rimsky-Korsakov: Capriccio Espagnole, Op. 34.
One side, and Moussorgsky: Night on Bald
Mountain. And Borodin: In the Steppes of Cen-
tral Asia. Paris Conservatory Orchestra conducted
by Andre Cluytens. 1*12" disc (*VX*PL*7670)
$5.95.

Liszt: Hungarian Rhapsody No. 2. And Enesco
Roumanian Rhapsody No. 2. And Dvorak:
Slavonic Dance No. 1 . One side, and Berlioz:
Rakoczy March. London Philharmonic Orchestra
conducted by Jean Martinon. And Ponchielli:
La Gioconda — Dance of the Hours. Royal Opera
House Orchestra conducted by Warwick Braith*
waite. And Saint-Saens: Danse Macabre. London
Symphony Orchestra conducted by George Wei*
don. 1*12" disc (*MGM*E*3037) $4.85.

ORCHESTRA

Schubert: Symphony No. 9 in C (“Great"). Sym*
phony Orchestra of Radio Berlin conducted by
Arthur Rother. 1*12" disc (*URTJRRS*7*1)
$3.50.

Dvorak: Symphony No. 5 in E minor. Op. 95

(“From the New World"). Symphony Orchestra
of Radio Leipzig conducted by Gerhard Pfluger.
1*12" disc (*UR*URRS*7*3) $3.50.

Borodin: Symphony No. 2 in B minor. Symphony
Orchestra of Radio Leipzig conducted by Gerhard
Pfluger. One side, and Borodin: Prince Igor —
Polovtsian Dances. Chorus and Orchestra of Radio
Berlin conducted by Karl Rucht. 1*12" disc (*UR'
URRS*7*4) $3.50.

For peace of mind and clarity of thinking, we
listened to this batch in just the reverse order in
which they are listed in the heading above, so we
will discuss them in that order. The Borodin disc
ic a fine one, at any price; and, since these three
records are in Urania's low*priced “request" series,
they must be considered a good value if they are

good performances. These German radio orchestras
seem to be a competent lot. The Radio Berlin chorus
and orchestra give a telling account of the Polovtsian
Dances which Urania would be hard pressed to beat
on their regular*priced series. Without quite the
individual touches of Stokowski, this performance is
as good as any we have heard on LP. The reproduc*
tion is excellent with the chorus recorded in fine
proportion to the orchestra — good balance and clarity.
The Borodin Second, now in its sixth LP recording,
is given a lucid reading, with plenty of bite and
precision. The only other recording offering com*
petition would be Dorati and the Minneapolis (*ME*
MG* 50004). The excellence of the Berlin chorus
will make this the preferred record of the Polovtsian
Dances, and is in itself worth the price of the disc.

Gerhard Pfluger’s reading of the “New World"
Symphony can hold its own with the dozen*odd other
LP's, in a performance of surprising virtues. This
is no run*of*the*mill job by second*raters on a cheap
LP series. It is, in fact, a beautiful effort, aided by
some lovely orchestral playing and fine reproduction.
There are a number of good LP’s of this work,
Ormandy and Kubelik having been our favorites for
some time. For those who do not yet own a copy
of the Dvorak Fifth, this disc is well worth consid*
eration; it has our respect and admiration. The clarity
and brilliance of reproduction, with a goodly amount
of hall resonance thrown in, could easily make it
the preference for many.

With the “Great C Major" of Schubert we get
into deeper water, and the camps are sharply divided
as to whose reading does justice to this work among
the dozen LP’s now available. We recently admired
the Furtwangler performance (*D*DX*119) although
it required three LP sides. Toscanini and von Kara*
jan have many proponents for the excellence of their
renditions. We have liked the older Bruno Walter
disc, an opinion which is not too popular. Arthur
Rother has no annoying mannerisms or individuali*
ties; he adheres closely to tradition and his orchestra
is well routined in the requisite style. This reading
may not be the most earth*shaking of them all, but
it is one of solid merit and commands our respect.
To have such a good reading, with modern repro*
duction, on a modestly priced disc is worth com*
mendation. S.

Pfitzner: Symphony in C-sharp minor. German

Opera House Orchestra conducted by Hans

Schmidt'Isserstedt. 1*12" disc (*UR*URLP*70 56)

$5.95.

This work has a curious appeal about it that we
had hardly expected. It is a type of music that will
be enjoyed by many lovers of symphonic music,
although a fair percentage will not go for it. If you
are seeking some new symphonies, not too modern,
but with some originality, you will do well to try
this one. The symphony originates from a string
quartet, Pfitzner’s second (1925), which was changed

* Indicate# LP 88*4 rpm.
^ Indicate# 46 rpm.

H. ROYER SMITH COMPANY

PAGE 2

SEPTEMBER

The Ntfte; R ecords

into the orchestral version in 1932. The quartet
shows the strong influence of the late Beethoven
quartets; it is a daring work but always rooted in
the romantic. The themes of the four movements
are developed from each other; the form follows
tradition but is handled by Pfiuner in an original
manner. The structure and development are exactly
as in the original quartet. The intensity of sound
is remarkable and it is interesting to note how the
composer, despite his animosity toward modern music,
created just that with this symphony.

Pfitzner, born in Moscow in 1869 of German
parentage, made his mark in music largely as a
conductor throughout Germany, and died in 1949.
He did much composing, and is known for his lieder,
choral and symphonic works, chamber music, and
concertos for violin, 'cello, and piano. His Kleine
Sinfonie, Op. 44 and Symphony in C, Op. 46 are
already on LP, as well as several shorter works. Ah
though his first two operas were inspired by Wagner,
his famous music drama Palestrina showed his orig'
inal style and in his oratorio Von deutscher Seele
he returned to romantic symbolism. As an admirer
of Wagner and Schumann he was against all the
modern musical tendencies. It is interesting to note
just how much of a modern tinge some of the
present symphony does have, which may prove
Pfitzner to be more of an original mind than is
often thought. The performance has a fine intensity
and conviction and is brilliantly recorded. S.

Delius Program. London Symphony Orchestra con'
ducted by Anthony Collins. M2" disc (*L'LL'
758) $5.95.

CONTENTS: Brigg Fair; On Hearing the First
Cuc\oo in Spring; The Wal\ to the Paradise Garden;
A Song of Summer.

Walton: Orb and Sceptre (Coronation March for
Full Orchestra). And Bax: Coronation March
1953. One side, and Elgar: Pomp and Circum-
stance March in D, Op. 39, No. 1 . And Elgar:
Imperial March, Op. 32. And Elgar: Pomp and
Circumstance March in G, Op. 39, No. 4.
London Symphony Orchestra conducted by Sir
Malcolm Sargent. M2" disc (*L'LL'804) $5.95.
London has released a number of important albums
in their “Special Commemorative Coronation Re'
lease;” one that will gladden the hearts of many
is the Delius Program, for many of us have been
waiting for more Delius on LP. Naturally, we have
been waiting for Delius recorded by Beecham, than
which there are no better Delius performances;
however, we have it here by Anthony Collins.
Collins is a fine conductor who has made some
excellent sets for London including a much respected
Sibelius First Symphony, and we recall some splendid
CBS broadcast concerts of his a few years ago.
His orchestra usually plays with a rich and meaty
tone, whether soft or loud; his musicianship is
good, yet imaginative. It will come as no surprise

that his Delius is not like Sir Thomas', but that is
not to say it is not good. While Sir Thomas has
the epitome of subtlety and nuance, Collins does
not lack in atmosphere even if it is a bit less rarefied.
The London Symphony under Collins delivers some
luscious sounds and London has captured it with
some of their finest reproduction. On Hearing the
First Cuc\oo in Spring is the only work currently
on LP; A Song of Summer is receiving its first
recording anywhere. These four numbers provide
a generous and choice assortment of shorter Delius
works, and we recommend this disc for those who
enjoy the sensuous beauty of this man's music.

We would not want the task of composing a
coronation march in the light of Elgar's fabulous
efforts in this medium. To play Walton's trashy
Orb and Sceptre after Elgar's magnificent Pomp and
Circumstance 7<[o. 1 reduces the march to a travesty;
to play Elgar after Walton is to bring the march
back to the regal majesty inherent in it. Walton's
effort compares favorably with one of Eric Coates'
gifted exercises, such as Knightsbridge. Bax fares
better in his march; it is, in fact, a pretty good job,
but Elgar runs away with the honors on this disc.
Malcolm Sargent performs this music, especially the
Elgar numbers, in a manner that we doubt could be
duplicated — it is absolutely magnificent! London has
supplied reproduction second to none. This is a
thrilling disc in many respects. S.

Schubert: Symphony No. 4 in C minor (“Tragic”).

Concertgebouw Orchestra of Amsterdam conducted

by Eduard van Beinum. M2" disc (*L'LL'736)

$5.95.

Tchaikovsky: Symphony No. 4 in F minor, Op. 36.

RIAS Symphony Orchestra conducted by Ferenc

Fricsay. M2" disc (*D'DL'9680) $5.85.

Schubert composed his Fourth Symphony in 1816
when he was only nineteen years old. Some fifty
years later Tchaikovsky completed his Fourth Sym *
phony at the age of 37, about twice Schubert’s age
when he wrote his Fourth. Schubert was to write
much finer symphonies, but Tchaikovsky really hit
his stride with his Fourth. Schubert added the title
“Tragic” for a later performance of the work; but
the idea was not a good one. Tragedy had not made
much of an impact on this lad in his teens and there
is very little about the work which is tragic. Van
Beinum has a heavier hand with this music than
either Klemperer (*VX'PL'7860) or Freilassing
(*ORFEO'10), each of whose readings we have
reviewed and found to be rather vigorous. You will
find this more relaxed and sweeter Schubert playing,
for van Beinum is painting a picture of more sombre
hues than the other conductors. The reproduction
London has accorded him r is also mellower than
that found in either the Klemperer or Freilassing sets.
All things considered, we would be inclined to take
this disc by van Beinum. All LP's of this symphony
occupy two sides of a 12" disc except Klemperer's;

• Indicate! LP 8 Sy$ rpm.
0 indicate* 45 ipa.

PAGE 3

"THE WORLD'S RECORD SHOP"

SEPTEMBER

1953

1 he R ccords

Vox squeezed that on one side, coupling it with
the Mendelssohn “Italian” Symphony, which makes
that one a good second choice for the value received.

Tchaikovsky’s Fourth is now available in several
excellent versions. Until now our preference has
been for the Ormandy disc, but there are several
with better, more modern reproduction. The present
disc by Fricsay and the RIAS Orchestra of Berlin
(Radio in the American Sector, in case you are
puzzled by RIAS) is indeed a good one. Fricsay has
a few original ideas but in general offers a fine
reading with plenty of excitement; it is well played
by the orchestra. Going back over some other
“Fourths” we found the Kubelik (*ME'MG'50003)
worth while, on the slow side but powerful and, of
course, well recorded. Kubelik is inclined to fuss
with the music more; Fricsay is more straight'
forward. These are worth comparing, as they are
the best in quality of reproduction, although quite
different in performance. Other versions lack one
thing or another, so we recommend Fricsay or
Kubelik for this work; if you can't compare them,
take Fricsay.

Brahms: Symphony No. 1 in C minor. Vienna
State Orchestra conducted by Hermann Scherchen.
M2" disc (*WEST'WL'5189) $5.95.

From the very opening chord of this recording
everything struck us as being wrong and annoying
about it. Comparing it carefully with the Ormandy
(*C'ML'4477), Toscanini (*V'LMT702) and Ku'
belik (*ME'MG' 50007) readings confirmed our
dislike of Scherchen’s treatment. Even leaving Seller*
chen out of it, we still do not like the sound that
meets the ear. This is easily the loudest orchestral
record we ever heard; there is no toning it down.
The sound is so metallic and wiry that no tone
controlling can sweeten it. It is very clear and well
balanced, but even the clarity militates against this
set, for the Vienna State Opera Orchestra is no
paragon of precision. It is just a grating and annoy'
ing sound from beginning to end.

Scherchen has ideas about the Brahms First which
are often similar to Toscanini’s; but where Toscanini
has the skill to fashion these ideas into a smooth and
convincing performance, Scherchen is all ends and
disjointed phrases. As we said in the February
1953 issue, we recommend Ormandy (*C'ML'4477)
as the one most persons will enjoy. Others well
worth consideration are Kubelik, Toscanini, Leins'
dorf, Stokowski, Keilberth and Rodzinski — in about
that order. S.

Ravel: Bolero. One side, and Rimsky-Korsakov :
Capriccio Espagnol. Detroit Symphony Orchestra
conducted by Paul Paray. IT 2" disc (*ME'MG'
50020) $5.95.

In past years Paul Paray has been reluctant to
place his talents on records, contending that too
much of the true orchestral impact was lost in
phonograph reproduction to consider the recorded

sound an acceptable facsimile of the original. With
the advent, however, of “high'fidelity,” Mr. Paray
has accordingly altered his stand and is now to be
heard on Mercury’s Olympian Series, whose re'
markable fidelity could hardly better suit his purposes.

In 1951, the seventy year old conductor became
head of the then long waning Detroit Orchestra,
raising that group to a standard of merit on which
it had not functioned for many years. Mr. Paray s
associations with the Detroit Orchestra and Mer'
cury Records are two of the happiest combinations
of talents, we think, to have occurred during the
short history of LP records; for as anyone can glean
from hearing his current release, his almost unique
mastery of orchestral masses, his capability to dis'
cipline the forces of a large orchestra into a tightly
formalized and sensibly pleasing pattern place him
immediately beside such classical conductors as
Toscanini. The French master’s reading of Bolero,
a work which probably has more aesthetic merit
than most musicologists admit, is compelling in its
perfection. His execution of the Capriccio Espagnol
radiates with Rimsky’s vivid colorations through
exacting conductorial demands; so that this first of
Paray’s projected releases creates as much an anticipa'
tion to enjoy those to follow as it does satisfaction
with itself. C.

Glazounov: Symphony No. 7 in F, Op. 77.

Symphony Orchestra of Radio Berlin conducted
by Felix Lederer. One and one'half sides, and
Miaskovsky: Lyric Concertino in F, Op. 77.
Symphony Orchestra of Radio Berlin conducted
by Adolf Fritz Guhl. M2" disc (*URTJRLP'
7088) $5.95.

These works appear for the first time in the LP
lists. Glazounov’s Seventh Symphony is a facile
work which makes no demands on the listener. It
sounds, in a general way, like dozens of other works
without being directly reminiscent of anything in
particular. It is a nice pleasant symphony which
anyone can enjoy on first hearing. Lederer and the
Radio Berlin Orchestra play the music with a proper
feeling and give it a good profile. It is so clearly
Russian — of the Glazounov period — that one could
hardly miss. The four movements are conventional,
with a lovely third movement Scherzo, deftly orches'
trated and reflecting Rimsky'Korsakov’s influence.
The finale reassembles most of the music from the
preceding movements within the framework of a
vigorous and nationalistic approach. It must be en'
joyable, for it seems to move along quickly, always
a good sign; however, it lacks, to us, any distinguish'
ing features, except that it is not irritating.

Miaskovsky is one of the most prolific of living
composers. He is in an enviable position among
Soviet composers, having followed the line of least
resistance by providing the government with patriotic'
sounding titles to many of his works. The Symphony
No. 12 is subtitled “Collective Farm.” Some of his

• indicates LP 8 sy 3 rpm.
0 Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 4

SEPTEMBER

T he Records 1953

choral pieces are entitled: “Kirov Is With Us,"
“Song of the Border Guards," “Glory to Our
Soviet Pilots," and “Lenin." He has also written
a “Stalingrad Symphony." He holds several official
positions in music in Russia. For the most part,
Miaskovsky is a composer of absolute music, and
we hope that the phony titles mentioned above have
completely fooled the powers over there.

The present work is an innocuous invention which
was conceived in 1926'7, while the composer was
busy at work on his Tenth Symphony. It is lighter
in texture and substance than most of his music and
is said to reflect a Gallic approach to chamber or'
chestra writing, being scored for five instruments
and strings. It is well played and recorded here
and provides a good fillip for the remainder of side
two of this disc. S.

Albeniz — arr. Arbos: Iberia. L’Orchestre de l’Asso'
ciation des Concerts Colonne conducted by George
Sebastian. M2" disc (*UR'URLP'7085) $5.95.
Iberia, consisting of twelve pieces for piano which
Albeniz wrote towards the end of his life, is gen'
erally considered his masterpiece and the summa'
tion of his art. Unlike many transcriptions, Arbos’
orchestration of the work is a highly successful one.
Much, of course, of the original rhythmic and
harmonic intensity is lost; but in its place is ob'
tained the orchestral variety which, of necessity,
the original lacked, and which, judging from the
success of the orchestral version, it partially de'
manded. The more incisive and dramatic mood of
the piano reading gives way, in this recording, to
a diffuse, somewhat impressionistic sound that in
its own way is as significant musically as the former.

George Sebastian’s conducting presents nothing
ior negative criticism. Reproduction, as is the case
with all current Urania LP’s, is extremely realistic.

C.

Bach: Brandenburg Concerto No. 2 in F. One
side, and Bach: Brandenburg Concerto No. 4 in

G. London Baroque Ensemble conducted by Karl
Haas. M2" disc (*WEST'WL'51 13) $5.95.
Bach: Brandenburg Concerto No. 1 in G. One
side, and Bach: Brandenburg Concerto No. 6 in
B. London Baroque Ensemble conducted by Karl
Haas. M2" disc (*WEST'WL'5172) $5.95.
Bach: Brandenburg Concerto No. 5 in D. One
side, and Bach: Brandenburg Concerto No. 3 in
G. London Baroque Ensemble conducted by Karl
Haas. M2" disc (*WEST'WL'5174) $5.95.

For as pure an example of the sound of a baroque
ensemble to be had on records, these versions of the
Brandenburg Concerti must be recognized as being
nonpareil. The use of recorders instead of flutes in
the second and fourth concerti (as per the original
edition) adds exquisitely to the already warm and
animate sound of the London Baroque Ensemble,
which partakes of neither the characteristics of a

modern small orchestra nor a modern large chamber
group; but rather, as was Bach's intention, it con'
sists of a heterogeneous variety of sounds, ever fresh
in stimulating combinations, now in solo, now in
unison.

Beyond, however, the unique sounds of these
records, there are minor defects. The tempi are
generally too slow, the playing somewhat inaccurate
and spiritless. These blemishes are never grossly
existent nor unduly detractive; so that Karl Haas’
versions of the works, we should say, surpass all
other versions excepting Karl Munchinger’s (*L'LL'
222, *L'LS'226, *L'LL'144), which we consider to
be easily the best. C.

Coates: The Three Elizabeths Suite. One side, and
Coates: Four Centuries Suite. New Symphony
Orchestra conducted by Eric Coates. M2* disc
(*L'LL'753) $5.95.

Walton: Fagade (Suites I and II). One side, and
Lambert: Horoscope (Ballet Suite). London Sym'
phony Orchestra conducted by Robert Irving.
M2" disc (*L'LL'771) $5.95.

This pair of discs contains music by three of
Britain’s most prominent present'day composers: Eric
Coates, William Walton and Constant Lambert. The
first disc contains the now quite welbknown The
Three Elizabeths Suite, written to honor Elizabeth
Tudor, The Queen Mother, and the present Queen
Elizabeth. This work is in Coates’ usual pleasing
vein — not too profound. The Four Centuries Suite
is in four movements and is based on dance music
of the 17th, 18th, 19th and 20th centuries. It starts
out with a 17th century hornpipe and ends with a
modern dance tune full of rhythms of the present
day. It’s quite a piece! The second disc contains two
ballet suites, both of which ballets have been per'
formed at the Sadler's Wells Theatre.

If you would like to listen to some popular music
of the better class that appeals to our English
cousins, here is your opportunity. All of it has been
recorded by fine orchestras and has been most faith'
fully reproduced on these LP discs.

Respighi: Gli Uccelli. One side, and Respighi:
Antiche Danze ed Arie per Liuto — Suite No. 2.
Vienna State Opera Orchestra conducted by Franz
Litschauer. M2" disc (*VAN'VRS'433) $5.95.
Litschauer’s recording of Respighi's Gli Uccelli
(The Birds) is far superior to the earlier recording of
this work on LP by the EIAR Symphony. In fact
we feel that it is a top'notch performance, and we
are very sure that those interested in this popular
Respighi opus will be highly pleased with it. The
same composer’s second sufte of Ancient Airs and
Dances for the Lute is an appropriate coupling.
Litschauer also presents this work in an attractive
and highly artistic manner. The reproduction
throughout is excellent.

PAGE 5

"THE WORLD'S RECORD SHOP'

Indicates LP rpra.
0 indicates 45 rpm.

SEPTEMBER

The New R ecords 1953

Glazounov: Raymonds, Op. 57 — Ballet Suite. Paris
Philharmonic Orchestra conducted by Manuel
Rosenthal. 1-12" disc (*CL-P-8184) $5.70.
Scarlatti — arr. Tommasini: The Good Humoured
Ladies — Ballet Suite. One side, and Mozart: Les
Petits Riens — Ballet-Pantomime. Royal Opera
House Orchestra, Covent Garden, conducted by
Warwick Braith waite. 1-1 2" disc (*MGM-E-
3034) $4.85.

Rossini: Guglielmo Tell — Overture and Ballet Music.
One side, and Rossini: Matinees Musicales. And
Rossini — arr. Britten: Soirees Musicales. Royal
Opera House Orchestra, Covent Garden, con*
ducted by Warwick Braith waite. 1-12" disc
(*MGM-E-3028) $4.85.

Tchaikovsky: The Slippers — Suite. One side, and
Tchaikovsky: Suite No. 4 in G, Op. 61 (“Mo-
zartiana”). Philharmonia Orchestra conducted by
Anatole Fistoulari. 1-12" disc (*MGM-E-3026)
$4.85.

Schubert — arr. Fekete: Snow White Ballet Suite.

Salzburg Mozarteum Orchestra conducted by
Zoltan Fekete. One side, and Fekete: Caucasus
Ballet Suite. Vienna State Opera Orchestra con-
ducted by Zoltan Fekete. 1-12" disc (*CSM-
CLPS-1011) $5.95.

Ravel: Daphnis et Chloe Ballet (complete). Motet
Choir of Geneva directed by Jacques Horneffer
and l’Orchestre de la Suisse Romande conducted
by Ernest Ansermet. 1-12" disc (*L-LL-693)
$5.95.

Lalo: Namouna Ballet — Suite No. 1. One side, and
Lalo: Namouna Ballet — Suite No. 2. And Bizet:
L’Arlesienne Suite No. 2 — Intermezzo. L’Orches-
tre de la Societe des Concerts du Conservatoire
de Paris conducted by George Sebastian. 1-12"
disc ( *UR-URLP-7068) $5.95.

Nights at the Ballet. Royal Opera House Orchestra,
Covent Garden, conducted by Warwick Braith-
waite. 1-12" disc (*MGM-E-3006) $4.85.
CONTENTS: Coppelia — Swanhilda’s Waltz and
Czardas (Delibes); Les Sylphides — Prelude and
Grande valse brilliante (Chopin); Swan La\e — (2)
Scenes and Dance of the Little Swans (Tchaikov-
sky); Carnaval — Preambule, Reconnaisance, Panta-
lon and Columbine (Schumann); Sylvia — Les Chas-
seresses and Pizzicati (Delibes); Fiutcr ac\er — Waltz
of the Flowers (Tchaikovsky); Boutique Fantasque
— Tarantella, Scene, Can Can (Rossini); Vespri
Siciliana — L’ Autunno ( V erdi ) .

Popular Ballet Music from Great Operas. Royal
Opera House Orchestra, Covent Garden, con-
ducted by Warwick Braithwaite. 1-12" disc
(*MGM-E-3003) $4.85.

CONTENTS: Faust — Ballet Music (complete)
(Gounod); La Gioconda — Dance of the Hours
(Ponchielli) ; Aida— Ballet (Act II) (Verdi); La\me

— Airs de danse (Act II) (Delibes); Carmen —
Gypsy Dance and Farandole (Bizet); Guiglielmo
Tell — Dances (Acts II and IV) (Rossini).

We regret that we only have space to simply list
these records of ballet music that have arrived at
the studio during the last couple of months. We
have, however, carefully listened to each of them
and we can report that both the performance and
the reproduction of each are well up to par.

Massenet: Le Cid — Ballet Music (Act II). And
Massenet: Le Cid — Moorish Rhapsody (Act III).
One side, and Massenet: Scenes Alsaciennes (Or-
chestral Suite No. 7). Royal Opera House Or-
chestra (Covent Garden) conducted by Warwick
Braithwaite. 1-12" disc (*MGM-E-3016) $4.85.
Massenet: Le Cid — Ballet Music (Act II). One side,
and Rimsky-Korsakov: The Tale of the Czar
Saltan Suite, Op. 57. Netherlands Philharmonic
Orchestra conducted by Henk Spruit. 1-12" disc
(*CH-CHS-1155) $5.95.

Rimsky-Korsakov: The Tale of the Czar Saltan
Suite, Op. 57. Symphony Orchestra of Radio
Berlin conducted by Otto Dobrindt. One side, and
Gliere: The Red Poppy (Ballet Suite). Symphony
Orchestra of Radio Berlin conducted by Hans
Gahlenbeck. 1-12" disc (*UR-URLP-7078) $5.95.
The three LP discs listed above contain much
brilliant and gay music played with fine spirit by
three foreign orchestras of note. We were particular-
ly impressed with Concert Hall’s recording of the
Netherlands Philharmonic Orchestra under the direc-
tion of Henk Spruit.

Music of Cole Porter. Andre Kostelanetz and his
Orchestra. 1-12" disc (*C-ML-4682) $5.45.
CONTENTS: Begin the Beguine; All through the
"Flight; I Concentrate on You; I Love You; Flight
and Day ; In the Still of the Flight; I’ve Got You
Under My S\in; Blow, Gabriel, Blow.

The general musical public never seems to get
enough of Kostelanetz recordings. Nearly every
record that this unique musician has made has been
a good seller and continues to sell for years after
its issue. There is a reason for this. Kostelanetz
selects popular tunes that have that something about
them that makes them live on and on, and he presents
them in fascinating arrangements that catch and hold
the popular fancy. Add to this the fact that Kos-
telanetz selects the best of players for his orchestra
and diligently rehearses them until he secures the
results that he requires, and you have the secret as
to why his recordings enjoy such tremendous sales.

Bloch: Concerto Grosso for String Orchestra and
Piano. One side, and Schuman: Symphony for
Strings. Pittsburgh Symphony Orchestra conducted
by William Steinberg. 1-12" disc (*CL-S-8212)
$5.95.

A product of the first Pittsburgh International

• indicate! LP 883^ rpm.
0 Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 6

SEPTEMBER

The New R ecords

1953

Contemporary Music Festival, November 1952, these
performances sound very much like the community
project they apparently were, more the product of
civic pride than artistic merit. One must even ques'
tion the internationality of Schumanns Symphony
which sounds substantially more morbidly romantic
here than in the superior Schenkman reading (*CH'
CHS' 1078). The Bloch Concerto gets rougher, less
satisfactory treatment in the hands of Steinberg than
in those of Kubelik (*ME'MG'50001). And if
anyone is searching for important 20th Century
music to record, he might turn to Bartok’s Cantata
Prof ana or Stravinsky’s Les T^oces before pointlessly
duplicating minor works.

Music by Raff and Mendelssohn. Westminster Light
Orchestra conducted by Leslie Bridgewater. LI 2"
disc ( * WEST'WL'4005 ) $4.95.

CONTENTS: Scherzino, Cavatina, The Mill,
Aria, Scherzo (Raff); On Wings of Song, Octet —
Scherzo, Little Suite (from the “Songs without
Words”) (Mendelssohn).

Music by Schubert. Westminster Light Orchestra
conducted by Leslie Bridgewater. LI 2" disc
(*WEST'WL'4006) $4.95.

CONTENTS: Valse Caprice, Rosamunde — Entr’'
acte and Ballet Music, ( 2) Galops, Marche Militaire,
Rondo (from “Sonata No. 11 in D, Op. 53”), Ave
Maria, Marche Caracteristique.

Leslie Bridgewater has taken some of the better
known music of Raff, Mendelssohn and Schubert
and with the best of taste presents it in a quiet and
highly pleasing manner. It makes excellent back'
ground music especially suitable for the dinner hour.
These recordings, which were made in the famous
Konzerthaus, Vienna, are examples of the best of
modern reproduction.

Strauss: Wiener Blut, Op. 354 (“Vienna Blood”).
And Strauss: Wein, Weib und Gesang, Op. 333
(“Wine, Women and Song”). One side, and
Strauss: G’schichten aus dem Wiener Wald, Op.
325 (“Tales from the Vienna Woods”). And
Strauss: Kaiser, Op. 437 (“Emperor Waltz”).
Minneapolis Symphony Orchestra conducted by
Antal Dorati. LI 2" disc (*ME'MG'50019)
$5.95.

Strauss Overtures, Polkas and Marches. Philadeb
phia Orchestra “Pops” conducted by Eugene
Ormandy. LI 2" disc (*C'ML'4686) $5.45.
CONTENTS: Tritsch'Tratsch Pol\a, Explosions
Pol\a, Egyptian March, Die Fledermaus — Overture,
Thunder and Lightning Pol\a, Die Fledermaus —
Polka, Queen s Lace Handkerchief — Overture,
Annen Pol\a, W aldmeister — Overture (J. Strauss,
Jr.); Radetz\y March (J. Strauss, Sr.); Pizzicato
Pol\a (J. Strauss, Jr. and Josef Strauss).

Lovers of Strauss melodies will surely welcome
these excellent recordings by two fine orchestras led

by men who, among their many other accomplish'
ments, are in the groove with such lively and melodi'
ous music. The best of reproduction prevails on
both records.

Semprini: Mediterranean Concerto. One side, and
Docker: Legend. And King: Theme from "Run-
nymede Rhapsody.” Rochester “Pops” Orchestra
conducted by Morton Gould (piano). L10" disc
(*C'AAL'36) $2.85.

Morton Gould directs the Rochester “Pops” from
his seat at the piano in three selections that should
prove popular with audiences at summer “pops”
concerts. Semprini’s Mediterranean Concerto has
been quite the rage in England for some time but
hasn’t caught on over here to any extent.

Bizet: L’Arlesienne Suites Nos. 1 and 2. Bamberg
Symphony Orchestra conducted by Ferdinand
Leitner. L10" disc (*D'DL'7538) $3.85.

We see no particular need for additional record'
ings of these Bizet selections; there are several excel'
lent versions already available. However, Decca has
recently released the present LP disc and we feel
that our readers should know of it.

Haydn: Symphony No. 44 in E minor (“Trauer'
symphonie”). One side, and Haydn: Symphony
No. 49 in F minor (“La Passione”). Orchestra
of the Vienna State Opera conducted by Hermann
Scherchen. L12" disc (*WEST'WL'5206) $5.95.
If you are interested in these Haydn symphonies,
we can assure you that the present versions by
Scherchen and the Vienna State Opera are the best
available. Most faithful reproduction is an added
feature.

Kabalevsky: The Comedians, Op. 26. Symphony
Orchestra of Radio Berlin conducted by Arthur
Rother. One'half side, and Prokofiev: A Summer
Day — Suite. Symphony Orchestra of Radio Berlin
conducted by Adolf Fritz Guhl. One side, and
Dvorak: The Watersprite, Op. 107. Symphony
Orchestra of Radio Berlin conducted by Gerhard
Wiesenhutter. L12" disc (*UR'URLP'7082)
$5.95.

A new recording of The Comedians and first
recordings on LP of The Watersprite and A Sum'
mer Day have been coupled by the redoubtable
gentleman who decides what disassociated works
may share the same record and whose frequently
strange and disconcerting decisions are, no doubt,
the product of a finer intellect than is had by us
who only listen to the records. He has not, however,
we should say, in this instance done too poor a job.

The performance of The Comedians to be had
here is a welbrnannered one r without quite the raucous
intentions of some of its fellows. The Summer Day
Suite, containing seven orchestrated sections from
the original twelve'section piano work Musique
d’enfants, has much of the delightfulness but not

PAGE 7

"THE WORLD'S RECORD SHOP"

Indicates LP 88 ^ rpna.
0 Indicates 45 rpm.

SEPTEMBER

The NW Records

1953

quite so much of the melodic quality of Peter and
the Wolf. And the Water sprite, one of three sym'
phonic poems which Dvorak wrote on returning from
the .United States and which is a musical account
of some of the actions of a “sprite” or evil spirit,
contains, from a technical standpoint, an extremely
fine example of his craft.

All three compositions are well played and share
the advantage of fine reproduction, even as they
share the same disc. C.

Beethoven: Concerto No. 5 in E-flat, Op. 73

(“Emperor”). Elly Ney (piano) with the Vienna
Philharmonic Orchestra conducted by Karl Bohm.
M2" disc (*UR'URRS'7'10) $3.50.
Tchaikovsky: Concerto No. 1 in B-flat minor, Op.
23. Alex de Vries (piano) with the Symphony
Orchestra of Radio Berlin conducted by Arthur
Rother. M2" disc (*UR'URRS'7'2) $3.50.

The Schwann catalog now lists over a dozen LP’s
of each of these two popular concertos. Neither of
these recordings would cause us to change any pref'
erences we have stated in recent months in these
columns concerning a choice among the existing
versions. That is not to say that these two are not
quite good. Considering the price asked for them,
they are a good value, featuring modern recording
and good orchestral support. The “Emperor” has
not the sinewy strength and, in spots, the digital
dexterity that can be found in numerous other disc
versions. The finale, in particular, is somewhat in*
secure in places, and even Karl Bohm and the well'
disciplined Vienna Philharmonic cannot get in a
solid groove with the soloist occasionally. Disregard'
ing price, Horowitz, Serkin, and Curzon have record'
ings of greater merit. Considering price, some may
prefer Denis Matthews (*C'RL'3037).

While Elly Ney is a familiar name on records,
Alex de Vries is a name we cannot recall at the
moment. This pianist has a serious approach to the
well'worn Tchaikovsky concerto which results in a
reading of large proportions, although an ability to
sustain this large conception that barely, at times,
meets the requirements. It takes HorowitZ'type
fingers of steel to put this type of performance over;
if you are not too aware of minute technical matters,
you will find de Vries not only adequate, but thrill'
ing. Arthur Rother and the Radio Berlin Orchestra
provide a magnificent accompaniment in close rap'
port with the soloist. The ending they put on the
first movement is a mighty effort which comes off
beautifully. De Vries does not, fortunately become
too slow and slushy in the middle movement, offering
a clear, but poetic reading. The last movement is
spread out, contains climax upon climax, with tempo
changes and many points of expansion and ritard.
It comes off surprisingly well. The second and third

movements fare better than the first. Those who
want a straighter and brisker performance will find
others in the LP lists; this one will appeal to many
fanciers of the work. S.

Chopin: Concerto No. 1 in E minor, Op. 11.

Gyorgy Sandor (piano) with the Philadelphia
Orchestra conducted by Eugene Ormandy. M2"
disc (*C'ML'4651) $5.45.

Chopin: Concerto No. 1 in E minor, Op. 11.

Mieczyslaw Horszowski (piano) with the Vienna
State Philharmonia conducted by Hans Swarow'
sky. One and one'half sides, and Chopin: (4)
Impromptus. Mieczyslaw Horszowski (piano).
M2" disc (*VX'PL'7870) $5.95.

In the Sandor'Ormandy recording of the Chopin
First Concerto, there is an enormous cut in the or'
chestral introduction. Not having a score at hand,
we cannot say how many measures, but we would
guess at least seventy'five. This is doubly curious,
since the notes on the jacket state: “The first move'
ment begins with an orchestral introduction of one
hundred'odd measures in which all the principal
themes of the movement appear . . .” Whoever
wrote the notes had not heard the recording or he
would not have reminded the listener of this fact.
Swarowsky offers the score as written, and with less
of an annoyed approach which sticks out of the
Ormandy reading. Horszowski is a more able pianist
in matters of projecting the Chopin idiom than
Sandor. While the Columbia reproduction is brighter
and more forward, the Vox recording is good, and
considering the performance, the more desirable of
the two. Other disc versions are no better.

Vox has been quite a champion of the four Im *
promptus. Guiomar Novaes and Gaby Casadesus
have recorded them for Vox; however the numbers
seem to have been withdrawn at this time. Now we
have Horszowski’s versions, and they have only one
competitor, Erno Balogh. The four Impromptus in'
eluded on the same disc as the concerto make this
an attractive value. Horszowski, a much admired
pianist by musicians, plays these works with strength
and a rather lofty style that eschews any romantic
dalliance. He carries it rather far in the case of the
overplayed Fantasy 'Impromptu, but he is probably
correct — our tastes prefer a freer reading, right or
wrong. In all, this is a good Chopin disc, which can
stand up well with competition. S.

Beethoven: Concerto No. 2 in B-flat, Op. 19.
One side, and Beethoven: Concerto in E-flat
(1784). Paul Jacobs (piano) with TOrchestre
Radio'Symphonique de Paris conducted by Rene
Leibowitz. M2" disc (*OC'OCS'35) $5.95.

The interest in this disc lies in the recording of
the Concerto in E'flat. Written in 1784 when
Beethoven was a lad of fourteen, the published
score consisted merely of the piano part with orches'
tral introductions, interludes, and codas reduced to

• Indicate# LP 885^ rpm.
0 Indicate# 45 rpm.

H. ROYER SMITH COMPANY

PAGE 8

SEPTEMBER

The Nm Records

1953

two staves and which did not include any orchestral
accompaniment. The actual orchestration customarily
performed today was carried out, in the early thir-
ties, by the Swiss musician Willy Hess. Rene Leibo-
witz has made some changes in this orchestration,
which he explains in the cover notes (he wrote the
notes, and they are excellent). Leibowitz also wrote
a cadenza for the first movement and completed the
second movement cadenza. The work which Leibo-
witz has done not only improves the music, but
also adds to his knowledge and authority in con-
ducting the music. There are two other LP’s of
this work, but we think the present set is the best;
the loving care in preparation is evident and the
finish which soloist and conductor bring to their
performance is admirable.

The Concerto 7s [o. 2 is played with fine regard
for the fact that Beethoven was using Mozart for
a model in this, his first concerto of the famous
five (it was composed before the C major. Op. 15,
when the composer was 25 years old). While it
shows a depth and mastery, it was clearly patterned
after Mozart’s later piano concertos. Other recordings
of the Second by Backhaus and by Kapell are on
10" LP discs, which are a disadvantage, particularly
since the present disc has such an interesting coupl-
ing. We would recommend this one as a good buy;
it is good mechanically and artistically. S.

Gershwin: Concerto in F. Leonard Pennario (piano)

with the Pittsburgh Symphony Orchestra con-
ducted by William Steinberg. 1-12" disc (*CL-
P-8219) $5.70.

Whether we have not heard the work for a while,
whether we appreciate it more, or whether this is
an exceptional performance of the work, we do not
know; but this recording proved to be most enjoy-
able and commanded a new respect for the music.
Written a quarter of a century ago, in the jazz idiom
at the invitation of Dr. Walter Damrosch, this work
is holding up well today as an acceptable concerto
in the standard repertoire. It has a remarkable fusion
of standard symphonic styles with genuine popular
jazz styles of its day, and it is as American, even
now, as a hot dog and coke.

Steinberg’s performance appears to be based on
the letter of the score, with less gilding of the lily
than Kostelanetz can resist in the only other LP
recording (*C-ML-4025). Leonard Pennario, who
has contributed a lot of fine piano playing to Cap-
itol’s library, is a far less celebrated Gershwin inter-
preter than Oscar Levant, pianist on the Columbia
disc; however, Pennario plays this work with unfail-
ing enthusiasm and fine technical resource. His
playing in the fast and tricky third movement is
splendid. Capitol has captured this performance with
fine fidelity and good balance. The Pittsburgh Or-
chestra plays with a skill that places it high in the
roster of our best orchestras. We can recommend
this disc without reservation. One thing always

amuses us about this work — typically American as
it is, the tempo indications of each movement are
in Italian, a matter which, fortunately, cannot be
heard. S.

Handel: (3) Concerti for Viola and Orchestra.

Emanuel Vardi (viola) with the Stradivari Cham-
ber Orchestra. 1-12" disc (*STR-617) $5.95.
CONTENTS: Concertos in B minor, G minor,
and B'flat.

Unfortunately William Primrose has not seen fit
to re-record the Handel B'flat Viola Concerto which
he so expertly executed on 78 rpm; but also unfor-
tunate is the fact that Emanuel Vardi’s reading of
the work does not match that of Primrose. Vardi’s
performance is nervously angular and overly fast.
It does not have the freer tensions which perform-
ances of baroque music ought to have. Nor are his
readings of the G minor and B'flat Concerti permitted
a more relaxed pace. Playing, however, both by
soloist and orchestra is notably accurate and con-
sistent and should, for this reason, be appealing to
those who prefer the demonically angular concep-
tions of, for example, Casals or Toscanini. C.

Mozart: Concerto No. 21 in C, K. 467. One side,
and Mozart: Concerto No. 25 in C, K. 503.

Marguerite Roesgen-Champion (piano) with the
Lamoureux Orchestra conducted by Arthur Gold-
schmidt. 1-12" disc (*PE-SPL-571) $5.95.

Mozart: Concerto in G, K. 313. Fernand Marseau
(flute) with the Lamoureux Orchestra conducted
by Arthur Goldschmidt. One side, and Mozart:
Concerto in D, K. 314. Jean-Pierre Rampal (flute)
with the Leamoureux Orchestra conducted by
Arthur Goldschmidt. 1-12" disc (*PE-SPL-564)
$5.95.

As there are adequate recordings of all of this
Mozart music already available, we can see no par-
ticular reason for the release of the present versions.
However, as Mme. Roesgen-Champion has quite a
following among record collectors in this country,
it is possible that her recordings of these two popular
Mozart concertos may enjoy a reasonable sale.

Mozart: Concerto No. 21 in C, K. 467. One side,
and Mozart: Concerto No. 26 in D, K. 537

(“Coronation”). Joerg Demus (piano) with the
Vienna State Opera Orchestra conducted by Milan
Horvath. 1-12" disc (*WEST-WL-5183) $5.95.
The main interest in this disc is the coupling,
for it pairs two works which have much in common,
and which have similar appeal. Two other LP's of
the No. 21 exist, and at least one of them, Jensen
and Woldike (*HS-HSLP-1054) is a better job than
this one by Demus. Four otfier LP's of the No. 26
are in the catalogs, and at least one of them is
better than Demus’, that being Kraus and Moralt
(*VX-PL-7300) — there is also the well-known No.
26 by Landowska (*V-LCT-1029). Most persons

PAGE 9

"THE WORLD'S RECORD SHOP"

• indicates LP 88 rpm
0 Indicates 45 rpm.

SEPTEMBER

The R ecords

1953

will find the present disc by Demus satisfactory,
for the points of superiority in the other versions
are fine points, to be sure. Demus is a young artist
who has not quite the control of these other pianists,
but his style is good, as is also the style of the
accompaniments he receives. In the Ho. 21 he plays
a cadenza by Busoni, which may not be the last
word in your opinion, and he also adds a few Vien'
nese touches here and there in some piano entrances.

The general competence and the attractiveness of
the coupling of these two works should give this disc
a fair competitive chance. The reproduction is
good, with good piano tone and fine balance. S.

CHAMBER MUSIC

Bartok: Portrait, Op. 5, No. 1. Joseph Szigeti
(violin) with the Philharmonia Orchestra con*
ducted by Constant Lambert. And Bartok: Rhap-
sody No. 1 . Joseph Szigeti (violin) and Bela
Bartok (piano) (TNR Feb. Ml). One side, and
Bartok: Contrasts for Violin, Clarinet and Piano.
Joseph Szigeti (violin), Bela Bartok (piano) and
Benny Goodman (clarinet) (TNR Dec. MO).
MO" disc (*C'ML'2213) $4.

In our July 1953 issue we reviewed two recordings
of Bartok’s Sonata for Unaccompanied Violin, one
of which was coupled with the same composer's
Three Contrasts for Violin, Piano, and Clarinet;
and in that review we spoke, briefly, of the tech'
niques of playing Bartok’s music. Here, in a re'
release featuring Joseph Szigeti, one of the few truly
competent exponents of the work of the late Hun'
garian composer, occurs, we think, precisely the
ideally correct kind of performance of which we
spoke.

The Three Contrasts was commissioned by the
Messrs. Goodman and Szigeti, and with Bartok hihi'
self here executing the piano part, the three of
them have little trouble outclassing the aggressive and
immature noises that one finds on the Bartok record'
ing ( *B ARTOK'BRS'9 16). The Rhapsody Ho. 1
was dedicated to Joseph Szigeti and it, like the Por'
traits for Orchestra, is a product of Bartok’s early
style, though certainly is not, because of that, to
be thought of as inferior.

Although all three works on this disc were re'
corded many years ago, only the Rhapsody and the
Contrasts have previously been issued (and reviewed
in TNR as indicated in the heading above); for
some reason, the Portrait, Op. 5, Ho . 1 was never
issued, and so we owe a debt of thanks to Columbia
for having preserved the master and making it avail'
able to us at long last.

Mr. Szigeti, as he performs in all three of these
works, displays his musical services to the late com'
poser in the most splendid manner, providing here,
as he does, one of the most significant and repre'
sentative discs of Bartok's work. C.

Villa-Lobos: Nonetto (for Flute, Oboe, Clarinet,
Saxophone, Bassoon, Harp, Celesta, Battery and
Mixed Chorus). One side, and Villa-Lobos:
Quatuor (for Flute, Harp, Celesta, Alto Saxophone
and Women’s Voices). Roger Wagner Chorale
and the Concert Arts Players conducted by Roger
Wagner. M2" disc (*CL'P'8191) $5.70.
Considerable attention is being directed these days
to the extraordinarily vigorous and exciting works of
Brazil’s Heitor Villa'Lobos. There are approximately
sixteen records listed in the Schwann catalog and
the present disc is a worthwhile addition to the
growing total.

Villa'Lobos delights in odd combinations of in'
struments (one of the Bachianas Brasilieras is scored
for soprano, seven ’celli and one double bass) and
these two chamber works show this characteristic at
its peak. The Honetto is a sort of musical tour of
Brazil ( it is subsided lmpressao Rapida de todo o
Brasil) and includes a wild celebration, snatches of
song, a glimpse of street life and so on. It is not
easy music, either for performer or listener, but the
sheer vigor of the score, almost overwhelming at
first, is one of its chief merits — such vitality impresses
even if the idiom is exotic. The Quatour is a quieter
piece, more lyrical, more formal. In fact, it is
divided into three movements, an allegro con moto,
andantino and a final allegro deciso. It is described
as “pastoral” in nature on the jacket notes but there
are countrysides and countrysides.

The use of voices in both works is confined to
vocalising; there are no words. The effect is strik'
ing and, somehow, essentially proper. This re'
viewer’s quarrel with both works is the inclusion of
the saxophone. This instrument with its characteristic
“mooing” quality has always been annoying and,
coupled with its association with dance bands, has
always been a hete noir. This may be pure snobbery,
but it is none the less real.

Despite the presence of the saxophone, however,
the pieces are invigorating spiritually and rewarding
musically. Roger Wagner directs with verve and
enthusiasm in which he is seconded by his instru'
mentalists and chorus. Good recording is an added
feature. Well worth investigating. W.

Handel: (6) Sonatas for Violin and Harpsichord,

Op. 1 . Alfred Campoli (violin) and George Mah
colm (harpsichord). M2" disc (*L'LL'652)
$5.95.

Handel: (4) Sonatas for Recorder and Continuo,

Op. 1 . Alfred Mann (recorder), Helmut Reimann
(violoncello) and Helma Eisner (harpsichord).
M2" disc (*VX'PL'7910) $5.95.

Of the fifteen Sonatas which comprise Handel’s
Opus No. 1, six are for violin, four are for recorder,
three are for transverse flute and two are for oboe
— all of course, having a thorough bass. Those for
violin and for recorder are presented here in two

• Indicates LP 83^ rpm.
g indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 10

SEPTEMBER

T he R ecords 1953

of the finest recordings of Handelian chamber music
now available. Alfred Campoli captures perfectly
the baroque rhythms of these Sonatas, warm but
unsentimental in the slow movements and brilliantly
vivacious in the fast ones. His accompanist, George
Malcolm, fully shares his competent spirit as both
are clearly projected in London’s typically excellent
fidelity.

Alfred Mann has not only presented one of the
most splendid discs of Handel’s works, but one of
the finest discs in the entire repertoire of pre'dassical
music and, to our hearing, the best example of the
unfortunately near defunct art of recorder playing.
He avoids all spurious effects, exhibiting an under'
standing and devotion to the Sonatas (instead of to
his audience, or, as with the romantics, to himself)
that is refreshingly rare in its integrity. His accom'
panists, Helmut Reimann and Helma Eisner, like
George Malcolm, are comparably excellent and they,
like Campoli and Malcolm, are realistically presented
on Vox’s new “Ultra High Fidelity’’ records. C,

Schubert: Quartet No. 1 in B-flat. And Schubert:
Quartet No. 2 in C. One side, and Schubert:
Quartet No. 3 in B-flat. Vienna Konzerthaus
Quartet. M2" disc (*WEST'WL'5204) $5.95.
Schubert: Quartet No. 4 in C. One side, and
Schubert: Quartet No. 5 in B-flat. And Schu-
bert: Quartet No. 12 in C minor (“Quartetsatz”).
Vienna Konzerthaus Quartet. M2" disc
(*WEST'WL'5210) $5.95.

Schubert: Quartet No. 13 in A minor, Op. 29.
Vegh String Quartet. M2" disc (*L'LL'587)
$5.95.

Schubert: Quartet No. 12 in C minor (“Quartet'
satz”). One side, and Wolf: Italienische Serenade
in G. Koeckert Quartet. MO" disc (*D'DL'
4044) $2.50.

Schubert: Nocturne in E-flat, Op. 148. One side,
and Schumann: Trio No. 1 in D minor, Op. 60.

Mannes'Gimpel'Silva Trio: Leopold Mannes
(piano), Bronislav Gimpel (violin) and Luigi
Silva (violoncello). M2" disc (*D'DL'9604)
$5.85.

Another batch of recordings of Schubert chamber
music recently arrived at the studio. Of prime im'
portance are the splendid recordings of five of the
early string quartets (Nos. 1 to 5 inch) by the
excellent Vienna Konzerthaus Quartet. All of these
interesting works were composed before the young
Schubert was seventeen years of age.

Villa-Lobos: Trio for Violin, Viola and Violon-
cello (1945). Alexander Schneider (violin), Mil'
ton Katims (viola) and Frank Miller (violoncello).
MO" disc (*C'ML'2214) $4.

This Trio of Villa'Lobos is not a work that one
can grasp at the first one or two hearings. It is in
the modern idiom and depends for its attraction

upon its rhythmic excitement rather than its melodies
which will sound strange to ears not accustomed to
music of this character. The recording artists, who
are members of The New York Quartet, give a
cleanly cut and spirited performance which would
seem to us to present the music in its most attractive
form.

Dvorak: Quartet No. 6 in F, Op. 96 (“American’’).
One side, and Smetana: Quartet No. 1 in E
minor (“Aus meinen Leben’’). Koeckert Quartet:
Rudolf Koeckert and Willi Buchner (violins),
Oskar Reidl (viola) and Josef Merz (violon'
cello). M2" disc (*D'DL'9637) $5.85.

Dvorak: Quartet No. 6 in F, Op. 96 (“American”).
One side, and Smetana: Quartet No. 1 in E
minor (“Aus meinen Leben”). Curtis String
Quartet. M2" disc (*WEST'WL'5199) $5.95.
Dvorak: Quartet No. 6 in F, Op. 96 (“American”).
One side, and Smetana: Quartet No. 1 in E
minor (“Aus meinen Leben”). Stradivari Records
String Quartet. I'll" disc (*STRAD'STR'613)
$5.95.

Dvorak: Quartet No. 6 in F, Op. 96 (“American”).
Hungarian Quartet: Zoltan Szekely and Alex'
dre Moskowsky (violins), Laurent Halleux (viola)
and Vilmos Palotai (violoncello). One side, and
Dvorak: Suite in D, Op. 39 (“Czech”). Winter'
thur Symphony Orchestra conducted by Henry
Swoboda. M2" disc (*CH'CHS'1157) $5.95.
The reviewer’s life is indeed not a happy one
when four more recordings of Dvorak’s “American”
Quartet and three of Smetana’s “Aus meinen Leben”
Quartet arrive within a month or two. As for the
“American” Quartet, we have a highly satisfactory
version in our private library by the Griller String
Quartet (*L'LL'4) and we see no reason to make
a change. As for the “Aus meinen Leben” Quartet,
we would choose the Curtis String Quartet recording
listed above. We would then have two recordings
of the Dvorak “American” but then there is nothing
we can do about that.

Beethoven: Trio in G, Op. 9, No. 1 . One side, and
Beethoven: Trio in D, Op. 9, No. 2. Jean Pougnet
(violin), Frederick Riddle (viola) and Anthony
Pini (violoncello). M2" disc (*WEST'WL'
5198) $5.95.

Beethoven: Trio No. 5 in D, Op. 70, No. 1 . One
side, and Beethoven: Trio No. 6 in E-flat, Op. 70,

No. 2. Santoloquido Trio: Ornella Puliti Santo'
liquido (piano), Arrigo Pelliccia (violin) and
Massimo Anfiteatroff (violoncello). M2" disc
(*D'DL'9691 ) $5.85.

As there are other LP recordings of these Beethoven
chamber works, we can see no particular reason for
these additional versions. However, they are of ex'
cellent quality. In fact we were very much impressed
with the Westminster recordings of Opus 9, Nos.
1 and 2.

PAGE II

"THE WORLD'S RECORD SHOP

Indicates LP 88 rpm.
0 Indicates 45 rpm.

SEPTEMBER

The N ew R ecords

1953

Debussy: (3) Sonatas. Jean Fournier (violin),
Ginette Doyen (piano), Antonio Janigro (violon-
cello), Camille Manausek (flute), Erich Weiss
(viola) and Hans Jellinek (harp). 1-12" disc
( * WEST-WL- 5 207 ) $5.95.

CONTENTS: Sonata Ho. 1 in D minor for
Violoncello and Piano ; Trio Sonata Ho. 2 for Flute,
Viola and Harp; Sonata Ho. 3 in G minor for Violin
and Piano.

Quite frequently the couplings that occur on a
single LP record reflect little thought on the part
of the recording company; in fact, occasionally they
even exhibit a strange sense of musical values of the
type which is responsible for combining such dis-
parate composers as Bach and Bruch, Mozart and
Bartok, and Satie and Schonberg. Westminster has,
apparently, more than any other company, shown
competence in avoiding these follies and an unique
talent for setting forth such satisfactory combina-
tions as the four overtures to Beethoven's Fidelio
and the two Liszt Piano Concerti on single records.
They now offer, as an additional example of their
taste, three of Debussy's most prominent chamber
works on one of the most attractive and representa-
tive LP's of the French impressionistic period. The
performances are completely satisfactory and in ex-
tensive sympathy with the music, aided, in their
effect, as is so frequently the case with Westminster
records, by a kind of recorded sound that, we should
say, is just about ideal for conveying chamber
music. C.

CHORAL £■$

Haydn: Die Jahreszeiten ("The Seasons"). (Sung
in German). Elfride Trotschel (soprano); Walter
Ludwig (tenor); Josef Greindl (bass); RIAS
Chamber Choir; Choir of St. Hedwig's Cathedral
and RIAS Symphony Orchestra conducted by
Ferenc Fricsay. 3' 12" discs in album (*D-DX-
123) $17.55.

This is the third appearance of Haydn’s The
Seasons on LP discs. The first by Cetra is an
abridged version and early recording. The other
complete recording is by the Haydn Society and,
while an estimable job, it is overshadowed both
technically and musically by the present issue from
Decca.

To begin with, the soloists in this new production
are as fine as could be wished for; Elfride Trotschel
is a glorious-voiced young soprano with a wide even
range, and she has the ability to color a phrase that
makes every note she sings interesting and musical.
Walter Ludwig is an old timer who still has lots of
voice. His years of experience plus an innate artistry
make his contribution to the performance a notable
one. And as for Josef Greindl, there are only a
handful of basses who could equal his sure vocalism
and none that could surpass it. Add to this some

of the finest choral singing on records and Ferenc
Fricsay’s sensitive and inspired direction and you
have a performance that will stand for years to
come.

Now all these artistic forces have not been let
loose on something ordinary. Haydn’s score deserves
the adjective miraculous while von Swieten’s libretto,
based on James Thomson’s poem, is a veritable gem.
And even more impressive than the music, or perhaps
one should say because of the music, is the lesson
of the oratorio. We have come a long way since
Haydn set these words and certainly we can not
turn back, but there is a powerful sermon in the
piece, one the present world could profit by im'
measurably. Haydn did well to write In Homine
Domine at the beginning of the score and Laus Deo
at the close.

Irving Kolodin’s notes are excellent, the complete
German-English text is included, and the recording
is first class from start to finish. W.

Haydn: Missa brevis ("Sancti Joannis de Deo").
Copenhagen Boys’ and Mens’ Choir and Chamber
Orchestra of the Palace Chapel (Copenhagen)
conducted by Mogens Woldike, with Master Kurt
Frederiksen (boy soprano) and Soren Sorensen
(organ). One side, and Haydn: (6) Songs for
Mixed Voices. Chamber Choir of the Danish
State Radio conducted by Mogens Woldike, with
Boris Linderud (piano). IT 2" disc (*HS-HSL-
2064) $5.95.

CONTENTS: Aus dem Dan\liede zu Gott; Der
A ugenblic\; Die Harmonie in der Ehe ; Die Bered'
sam\eit; Der Greis; Abendlied zu Gott.

The Missa brevis Sancti Joannis de Deo or
"Kleine Orgelmesse” was written by Haydn before
1778 for a chapel of the Order of the Brothers of
Mercy at Eisenstadt. St. John of God, to whom the
Mass is inscribed, was a Portuguese living in the
16th century and who founded the Order of the
Brothers of Mercy.

The piece, brief though it is (playing time 17
minutes) may well be accounted one of Haydn’s
finest efforts in the field of sacred music. The limited
vocal forces and the dainty orchestral accompaniment
of six violins, ’cello, double bass and positiv organ
add to its charm. Special note must be made of the
graceful and serene Benedictus with its long organ
introduction and soprano solo. The soloist, Master
Kurt Frederiksen sings accurately, with good sense
of pitch and his clear young voice adds much to the
success of the performance.

The six "vocal quartets” were written some twenty
years after the Mass and are the result of Haydn’s
acquaintance with the English madrigal. He said
that these part-songs were "conceived con amore in
happy hours without being commissioned." They cer-
tainly sound it; two of them. Eloquence and Har-
monious Marriage are humorous, the latter having
a touch of irony about it, particularly in view of

* indicates LP 83 ft rpm.
0 Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 12

SEPTEMBER

T he New R ecords

1953

Haydn's own marital unhappiness.

Mogens Woldike, whose name is rapidly becoming
synonymous with the finest music and performances
on records, directs both works with loving care; his
singers and instrumentalists respond with superb
performances. Add to this the fine recording achieved
by the Danish HMV engineers and Karl Gieringer's
authoritative notes, and you have another typically
fine release from the Haydn Society. W.

Charpentier: Te Deum. One side, and Charpentier:
Marche de Triomphe. And Charpentier: Air de
Trompette. And Charpentier: Le^on de Tene-
bres. And Charpentier: Oculi Omnium. (Sung
in Latin). Claudine Collart, Jean Archimbaud
(sopranos); Yvonne Melchior (alto); Pierre Gia*
notti (tenor); Louis Noguera (bass); Chorale of
the Jeunesses Musicales de France and Orchestra
of the Concerts Pasdeloup conducted by Louis*
Martini, with Gerard Coursier, Gilbert Desprez
(trumpets) and Marie*Louise Girod (organ).
1*12" disc (*HS*HSL*2065) $5.95.

Marc'Antoine Charpentier, whose opera Medee
was noted in these columns a month or so ago, is
beginning to receive considerable attention after vir*
tually 250 years of neglect. The lack of interest
in his music during his lifetime was due, in the main,
to Lully's jealousy (Lully was no fool!) but there
has been founded, quite recently, an International
Charpentier Society, headed by a M. Guy*Lambert
to correct this error of artistic judgment. Presumably
we will be hearing more of Charpentier’s music via
records for one of the offices of the Society is
located in Boston.

The Te Deum recorded here is a mightily im*
pressive piece of music, very reminiscent of Handel
(one should put this the other way, Handel is
reminiscent of Charpentier). This is one of six
Te Deums Charpentier wrote for various military
victories, peace treaties and the like. It is a joyous
work and full of vitality. In fact, the vitality, the
sheer animal spirits of the music is one of its most
notable features.

Two orchestral items, a Marche de Triomphe and
a Second Air de Trompette follow and here again
one is impressed. The scoring for high trumpet,
usually associated with Bach and Handel some fifty
years later, is really something to conjure with.
Vitality is again the order of the day, and both
pieces bounce along in magnificently extrovert fash*
ion. The style of both orchestral pieces is more
French than Italian. The second side also includes
two choral works, one a setting of the Lamentations
of Jeremiah ( Lecon de Tenebres ), scored for two
sopranos, alto, 'cello and organ. It is introspective,
highly ornamental and always fascinating. The other,
Oculi Omnium, is a motet whose prevailing mood
is one of calm and deep rooted peace.

Of the performances one can only say they carry
conviction and show the results of serious study.

The recording is good, marred occasionally by ex*
cessive echo. One welcomes the activities of the
International Charpentier Society and looks forward
to more music by this neglected master whose music
is eminently worthy of revival. W.

Beethoven: Die Ruinen von Athen, Op. 113. (Sung
in German). Annie Woudt (soprano); David
Hollestelle (baritone); Netherlands Philharmonic
Choir and Orchestra conducted by Walter Goehr.
1*12" disc (*CH*CHS*1158) $5.95.

To celebrate the grand opening of a fashionable
theatre at Pesth, Hungary, on the 9th of February,
1812, Beethoven was commissioned to provide inci*
dental music for two of Kotzebue's new melodramas,
both of them selfconsciously nationalistic in content
and character. (August Friedrich Ferdinand von
Kotzebue was a popular playwright in these years).
Neither assignment appealed to the composer's high*
cst instincts, but the promise of a substantial sum
brought to bear the full play of his then amply
developed talents. One of the two productions was
King Stephen: Hungary's First Benefactor. The
second was The Ruins of Athens. In the present
recording, the text of those sections which Beethoven
did not employ is omitted because their empty dia*
logue lends nothing to the essential musical experi*
ence. The work is not a play in the modern sense;
Kotzebue called it a “Nachspiel," which is a kind
of epilogue or masque. Concert Hall, in addition to
copious program notes from which we have liberally
borrowed, supplies also on a separate leaf a text in
German with an English translation. This thoughtful
gesture enables us to follow the singing and also
understand what they are singing. Being none too
well versed in poetry, nor too steeped in matters
literary and theatrical, we have the feeling that this
text is rather on the trashy side. For us, the music
is the important thing, and once over the words, we
prefer to just hear it.

Beethoven turned out some moments of fine music
for this assignment. Well known is the Marcia alia
Turca; occasionally heard is the Overture. But even
better than these are some of the choral passages,
which the present forces deliver with magnificent
resource. The first duet is also good, and is sung
splendidly by two young Dutch singers, possessed
of fine voices well used. Beethoven scholars will find
this disc exciting; those who enjoy oratorio*type
music will find it pleasant. It is given a performance
of strength and polish, highly inspired by Walter
Goehr, and beautifully recorded. S.

Liszt: Missa Choralis. (Sung in Latin). Paris Select
Choir conducted by Rene Leibowitz, with Giuseppe
Englert (organ). 1*12" disc (*OC*OCS*37) $5.95.

Franz Liszt, “Abbe Liszt,'' if you will, was one
of the most extraordinary mortals ever to pen music —
a virtuoso pianist, the generally acknowledged creator
of the orchestral tone*poem, and ardent champion

PAGE 13

‘THE WORLD'S RECORD SHOP"

• Indicates LP 88y$ rpm
0 Indicates 45 rptr

SEPTEMBER

The N ew R ecords

1953

of the then “new” music (Berlioz, Wagner et al)
as well as an astonishing figure in extra-musical
activities. All these attributes would tend to lead
one to expect a M ass off the beaten track. With
such a varied background it seems natural to look
for humanity and understanding in a setting of the
traditional text.

Not so! The Mass in A minor or “Missa Choralis”
emerges in this, its first recording, as an undramatic,
often dull work, that is singularly unmoving. Ob'
viously composed for common liturgical use, the
piece makes use of a mixture of simple declamation
with a cantabile quality, of archaism and Gregorian
idioms. It was originally written for mixed chorus
a cappella but later Liszt provided it with an organ
accompaniment and also gave it a more strictly con'
trapuntal character.

The picked chorus, sixteen voices assembled for
this recording, is a fine one, and Rene Leibowitz,
the conductor, turns in a performance that does full
justice to the score. He is no magician, however, and
consequently can not make more of the Mass than
is there. The disc is, then, intended for those
who admire Liszt, who have sung in the performances
of the Missa Choralis, or curiosity seekers.

Oceanic has provided first rate sound, some modest
notes and the complete text. W.

Wagner: Tristan und Isolde (complete). (Sung in
German). Kirsten Flagstad (soprano); Blanche
Thebom (mezzo-soprano); Ludwig Suthaus, Ru-
dolf Schock, Edgar Evans (tenors); Dietrich
Fischer-Dieskau, Rhoderick Davies (baritones);
Josef Greindl (bass); Chorus of the Royal Opera
House, Covent Garden, and the Philharmonia
Orchestra conducted by Wilhelm Furtwangler.
6-12" discs (manual sequence only) (*V-ALP-
1030/5) $43.80.

Kirsten Flagstad has become an almost legendary
figure, even in her lifetime, largely because of her
magnificent interpretations of the whole range of
Wagner heroines. Among these heroic women, Mme.
Flagstad's Isolde has always been singled out for
special praise. Now all those who never had the
opportunity to hear her in person and the legions
who have been waiting for a good recording of her
Irish princess, have here an imported performance
that is well nigh flawless.

Naturally, interest centers around Mme. Flagstad
(not because she would have it that way, it is only
that she can not escape the consequences of her
glorious voice) but there is more than a modicum
of good singing in the supporting cast. Tristan, in
the person of Ludwig Suthaus, is a noteworthy char-
acterization. Herr Suthaus' Tristan has been on view
before in the complete Urania recording (*UR-
URLP-202), and it is salutory to observe the dif-

ferences due to different recording techniques, differ-
ent Isoldes and different conductors! It is not possible
to ascribe the great improvement to any one change,
but this writer strongly suspects that Suthaus rises
to the occasion because of Flagstad’s inspired singing.

Others in the long cast are also capable; particu-
larly fine is the King Mark of Josef Greindl. This
reviewer has never heard Greindl in person, but
judging from records it can be stated that he is a
superior artist who always turns in a sincere and
musically excellent performance. Blanche Thebom
is a vocally secure Brangane but leaves a little to
be desired from a dramatic point of view. Fischer-
Dieskau’s Kurneval lacks the poise and musical bear-
ing one associates with the role.

Brooding over the whole performance is Furt-
wangler’s sure and artistic direction. His orchestra,
the hardworking and invariably excellent Philhar-
monia, plays in inspired fashion. The general tempo
and atmosphere of the production are on the tradi-
tional side (which is, to this writer’s way of thinking,
the best for a performance that will have repeated
hearings). High spots are Isolde’s Curse, the Liebes'
nacht and, of course, the Liebestod. The recording
is a good one technically, not extreme high-fidelity,
but eminently listenable. No libretto is furnished
and the discs are pressed in manual sequence. W.

Handel: II Pastor Fido (complete). (Sung in
Italian). Genevieve Warner, Lois Hunt, Genevieve
Rowe (sopranos); Elizabeth Brown, Virginia Paris
(contraltos); Frank Rogier (baritone); Columbia
Chamber Orchestra conducted by Lehman Engel,
with Gino Smart (piano continuo). Sterling
Hunkins (violoncello) and Saul Ovcharov (violin).
1-12" disc (*C-ML-4685) $5.45.

II Pastor Fido, Handel’s second opera for London
(the first was Rinaldo ) was as great a failure as the
first was a success. Many reasons have been ad-
vanced for its failure; libretto (admittedly earth-
bound), poor cast (this could have been remedied)
and so on. But the simple fact remains that, for this
score, Handel just did not have it. Musically the
piece is a string of arias, recitatives and ensemble
numbers that do not come to life. Hearing this
modern performance by Lehman Engel was, for one
listener, a disappointment — it bred no desire to
hear it again.

The cast is excellent in most respects. Miles.
Warner, Hunt, Rowe, Brown and Paris sing in
engaging fashion, as does the sole male member of
the group, Frank Rogier. Obviously considerable
time went into the preparation of the opera, for
it is well rehearsed and the singers are familiar with
their parts. But all for nothing — II Pastor Fido
remains a stilted, uninspired opera seria. It is unfor-
tunate that so much effort was expended on one
of Handel’s few dull operas, for the energy, time
and money could have been better expended on a
work such as Rinaldo or Radimisto.

• Indicate* LP rpm.

# Indicate* 45 rpm.

H, ROYER SMITH COMPANY

PASS 14

SEPTEMBER

T he New Records

1953

Columbia has not helped prospective purchasers
of II Pastor Fido by only including the outline of
the plot and a listing of the arias and recitatives.
Surely more information concerning the genesis and
style of Handelian opera would make for more in'
telligent and consequently more enjoyable listening.
Then, too, one strongly suspects a great deal of the
opera has been cut, “arranged" and otherwise tarn'
pered with; but no indication of such goings on is
mentioned on the jacket. If this is the case, Columbia
does both itself and the record industry a disservice
by not playing fair with the buyer.

The recording is good from a technical angle.
Better investigate this one first before buying. W.

VOCAL

Handel: Cantata for Bass Voice and Violoncello

(“Dalla guerra amorosa"). Hans Olaf Hudemann
(bass'baritone), August Wenzinger (violoncello)
and Fritz Neumeyer (cembalo). One side, and
Telemann: Cantata No. 1 in C (“Ihr Volker,
hort!"). Hildegard Hennecke (alto), Gustav Sheck
(flute), August Wenzinger (viola da gamba) and
Fritz Neumeyer (organ). MO" disc (*D'DL'
7542) $3.85.

One hesitates to apply the adjective “interesting"
to a record these days for the word has picked up
some undesirable connotations. “Interesting" has
come to mean, on occasion, “one doesn’t know what
else to say” or, worse, it has become a word to
suggest damning with faint praise.

And yet, interesting, in its true sense, is the best
description for the music on this disc. It is not
great music, but it is pleasant. Both works are fas'
cinating from the historical angle and, for this
reason alone, deserve a place in all collections of
baroque music.

The secular cantata Dalla guerra amorosa, by the
young Handel, is a melodious piece, very Italian in
style (Handel’s model was, of course, the great
Carissimi) and is notable for the restraint and good
judgment exercised by the youthful composer in
setting the somewhat perfunctory lines. As sung by
Hans Hudemann it emerges as both a musical and
vocal treat, for Herr Hudemann sings with expres'
sion and good taste.

Telemann is remembered almost exclusively for
the famous remark made by a member of the council
of the St. Thomas Church when it was learned that
both Telemann and a musician named Graupner
declined the post of cantor. This anonymous gentle'
man said that since the best musicians were not
available “miisse mann mittlere nehmen." The “mid'
dling" in this case was none other than Johann
Sebastian Bach! Neither Telemann nor his music
have been able to live down this classic statement
although there is a growing interest in his music
nowadays (after all, Telemann didn’t make nor

solicit the remark) and the cantata here recorded,
Ihr Voider, hort! is craftsmanlike, melodious and
bears a more than superficial resemblance to the
Handel cantata on the other side. It is admirably
sung by Hildegard Hennecke.

Fine recording here and comprehensive notes
but no texts. W.

Catches and Glees of the English Restoration

(Vol. II). The Glee Singers directed by John
Bath, l'l 2" disc (*AL'AL'3046) $2.95.

A couple of years ago the first volume of these
Catches and Glees of the English Restoration 'were
released by Allegro (*AL'ALG'3008) and enjoyed
a modest sale among students of that lewd period
in English literature. Such gay and naughty songs
found their way appropriately in the plays that
abounded on the stage of that period. The present
disc, as was the former one, is not suggested as
entertainment for the unsophisticated.

"So This is Love” (The Story of Grace Moore).
Kathryn Grayson (soprano) with Chorus and
Orchestra conducted by Ray Heindorf. 2'7" discs
in folder (0V'EOB'3OOO) $3.15. MO" disc
(*V'LOC'3000) $4.67.

The Technicolor picture “So This Is Love” de'
picts the life of the glamorous Grace Moore from
her early years to her debut at the Metropolitan
Opera. Kathryn Grayson takes the part of Miss
Moore in the picture, and the present LP disc con'
tains eleven musical numbers from it. There is great
variety to be sure — several operatic arias and some
popular selections including I Wish I Could Shimmy
Li\e My Sister Kate ,

PIANO

Bach Recital. Gyorgy Sandor (piano), l'l 2" disc
(*C'ML'4684) $5.45.

CONTENTS: Fantasia and Fugue in G minor
(“Great”); Toccata, Adagio and Fugue in C; Pre '
lude and Fugue in D; Toccata and Fugue in D
minor; Prelude and Fugue in A minor.

This splendid LP disc contains transcriptions for
piano of several Bach organ works by Busoni, Liszt
and Sandor. Sandor gives thrilling performances
and Columbia has caught them with rare fidelity.
An Ania Dorfmann Recital. Ania Dorfmann
(piano). 4'7" discs in box (0V'WDM'1758)
$5.14. M2" disc (*V'LM'1758) $5.72.
CONTENTS: Papillons, Op. 2 (Schumann); An'
dante and Rondo Capriccioso, Op. 14 (Mendels'
sohn); May Breezes (Mendelssohn); Spinning Song
(Mendelssohn); (3) Ecossaises, Op. 72 (Chopin);
Un Sospiro (Liszt); Sonatine (Ravel); Ricercare
and Toccata (Menotti).

In arranging the recital to be found on this LP

PAGE 15

"THE WORLD'S RECORD SHOP"

todlcatas LP 88 rpm.

SEPTEMBER

The Nm R ecords

1953

disc, Miss Dorfmann doubtless had in mind an
audience who would like highly refined selections in
which delightful melodies abound in great profusion.
The result is a most intimate recital that one may
enjoy best in the quiet and seclusion of one’s own
home. As we listened to this record, we had the
feeling that Miss Dorfmann was playing these lovely
pieces just for us.

MISCELLANEOUS

Bach: Suite No. 4 in E-flat. One side, and Bach:

Suite No. 5 in C minor. Lillian Fuchs (viola).

M2" disc (*.D'DL'9660) $5.85.

We are not quite certain why Lillian Fuchs has
chosen to perform these Suites for ’cello on the viola
(probably since the ’cello for which they were
written is markedly different from today’s instrument,
she did not consider the instrumentation critical);
but the admirable results she achieves wholly justify
her performances. Generally, her playing tends to'
ward a slight over'seriousness with somewhat too
slow tempi. But the precision and formal excellence
she maintains place her within the foremost rank
of the few persons who have offered satisfactory
recordings of these Suites.

The use of the higher pitched instrument, in this
case, combined with Miss Fuch’s solemnity of inter'
pretation, produces a reading which sounds like the
last possible abstraction of the dance melodies which
form the basis for these works. And it is to those
who would prefer this sort of approach over, say,
the warmer, more rhythmically intense readings of
Starker that Miss Fuchs' records are recommended.

C.

Tanidos de Guitarras. Luis Maravilla (guitar).

M2" disc (*WEST'WL'5194) $5.95.

The Luis Maravilla of this recording is also the
Lopes Tejera of the famous Joys and Sorrows of
Andalusia (*WEST'WL'5135), the former name
being his nom'de'plume, the latter being his true
one and the name under which he composes. Half
of this recording is devoted to Tejera’s own works,
which are generally wrought within the conventional
Flamencan idiom. The others are, more or less,
standard guitar pieces; and all are presented with a
competence of which those who know the Joys and
Sorrows record need not be assured. Maravilla, who
has been concerting since the age of twelve, is
certainly pre'eminent in his profession, and is son'
ically done no injustice by the sparkling clarity of
Westminster’s recording. C.

■bbbbbbbssbbb^^V

BOOKS OF MUSICAL INTEREST

The World’s Encyclopaedia of Recorded
Music. By Francis F. Clough and G. J.
Cuming. 890 pp. Sidgwick and Jackson,
Ltd. (London). Price $17.50.

The 7s lew Catalogue of Historical Records
1 898' 1 908/09. Compiled by Robert Bauer.
494 pp. Published in England. For sale in
U. S. A. by H. Royer Smith Co. (Philadeh
phia). Price $7.25.

The Gramophone Shop Encyclopedia of Re'
corded Music (Third Edition) . Robert H.
Reid, Supervising Editor, 639 pp. Crown
Publishers (New York). Price $2.95.

The Victor Boo\ of Operas. Revised and edited
by Louis Biancolli and Robert Bagar.
xxiv-f-596 pp. Illustrated. Simon and
Schuster (New York). Price $5.

Victor Boo\ of Concertos. By Abraham Veinus.
xxv + 450 pp. Simon and Schuster (New
York). Price $3.95*

Collectors’ Guide to American Recordings
1895' 1925. By Julian Morton Moses.
Foreword by Giuseppe De Luca. 200 pp.
Published by the author. Price $3.75.

I Hear You Calling Me. By Lily McCormack.
201 pp. Illustrated. The Bruce Publishing
Co. (Milwaukee). Price $2.75.

Records: 1950 Edition. By David Hall, ix -f-
524 T xx pps. Alfred A. Knopf (New
York). Price $6.

NOTE: All the above books have been reviewed
in previous issues of The T^cw Records. If your local
dealer does not stock them, orders addressed to H.
Royer Smith Co., Philadelphia 7, Pa., will be promptly
filled. The prices quoted include postage to any point
within U.S.A.

The flr st otters n the recor d number Indieate the m an ufa ctur c r: A L—AHegro. BG— Bach Guild, C— Columbia, CE— Cetra, CH— Concert
S2 , . , ^ So £- , * e u ty ; c J-T7 Cap,to / .ipSIV* — Colosseum, CRS— Collector’s Record Shop, D— Decca, D L — Dial, ESO— Esoteric. FEST— Festival.
FOLK-Ethn.c Folkways Library, GIOA— Gregorian Institute of America, HS— Hadyn Society, L— London Gramophone. LYR — Lyrl-
chord, ME-— Mercury, OC— Oceanic, 0 L — L’Oiseau Lyre, PE— Period, PH M — Philharmonia, PLM— Polymusic, REN— Renaissance, SOT—
Sounds of Our Times, STR— Stradivari, UR— Urania, V— Victor, VAN— Vanguard, VX— Vox, and WEST— Westminster.

Indicates LP 83^ rpm.
g Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 16

The New R ecords

A BULLETIN FOR THOSE INTERESTED IN RECORDED MUSIC

Issued Monthly by

H. ROYER SMITH COMPANY

“The World's Record Shop -

I0TH& WALNUT STREETS .... PHILADELPHIA 7, PA., U. S. A.

VOL2l.NO. 8 OCTOBER, 1953 e» m.u to •>»«<*£

W E HAVE just been listening to one of
the most unbelievable recordings to have
come to our attention in a long while. It is the
complete New Testament (Authorised King
James Version). The reading is indescribably
beautiful; this set will surely bring new mean-
ing and new understanding of the Holy Word
to those who hear it.

This truly remarkable set is published by the
Audio Book Co. in an album of simulated
leather with gilt lettering. It contains twenty-
four 7 -inch microgroove records which will
play on any LP (33]/3 rpm) phonograph. Each
set is attractively boxed, making it an ideal gift.
The letters on each disc are raised, so that the
blind may identify the contents of each. And
the edition is complete — every word of every
chapter from Matthew through Revelation is
contained.

The price of this album is $22.95. If your
local dealer cannot supply you, orders ad-
dressed to the publishers of this bulletin will
be promptly filled. The price includes postage
to any point in U. S. A.

BACK COPIES

We are continually receiving requests for
back copies of The New Records. Most of
the issues published during the last twenty
years are available. The price is 10c each. A
file of all of the available issues (at least 140
copies) is $5. These prices are postpaid within
U.S.A.

NOTE: Those persons interested in recent
recordings only may secure all of the issues of
the last three years beginning October 1950
(36 copies) at the special price of $2 (postpaid
within U. S. A.).

NEW LP RELEASES

Puccini: La Boheme (highlights). Rosanna Cartieri
(soprano), Ferruccio Tagliavini (tenor), Cesare

Siepi (bass) with Orchestra of Radio Italiana
(Turin) — Santini. 1-12" disc (*CE-A50143)
$5.95. (TNR Apr. ’53).

Leoncavallo: I Pagliacci (highlights). Carla Gavazzi
(soprano), Carlo Bergonzi (tenor), Carlo Tag-
liabue (baritone) with Orchestra and Chorus of
Radio Italiana — Simionetto. One side, and Mas-
cagni: Cavalleria Rusticana (highlights). Fernanda
Cadoni (soprano), Achille Braschi (tenor) with
Chorus and Orchestra of CETRA — Basile. 1-12"
disc (*CE-A50144) $5.95. (TNR Dec. ’51 and
Aug. ’52).

Mozart: Le T^ozze di Figaro (highlights). Alda Noni,
Gabriella Gatti (sopranos); jolanda Gardino
(mezzo-sopranos); Italo Tajo (bass); with Or-
chestra of Radio Italiana — Previtali. 1-12" disc
(*CE-A50141) $5.95. (TNR Oct. ’51).

Verdi: Aida (highlights). Caterina Mancini (so-
prano); Mario Filippeschi (tenor); Rolando
Panerai (baritone); Guilio Neri (bass); with
Orchestra and Chorus of Radio Italiana — Gui.
1-12" disc (*CE-A50142) $5.95. (TNR Feb.
52).

OVERTURES ON RECORDS

Weber: Der Freischiitz — Overture. One side, and
Gluck: Alceste — Overture. Berlin Philharmonic
Orchestra conducted by Fritz Lehmann. 1-10" disc
(*D-DL-4075) $2.50.

Beethoven: Coriolan Overture, Op. 62. Berlin Phil-
harmonic Orchestra conducted by Fritz Lehmann.
One side, and Beethoven: Die Wiehe des Hauses
Overture, Op. 124 (“Consecration of the House”).
Berlin Philharmonic Orchestra conducted by Paul
van Kempen. 1-10" disc (*D-DL-4068) $2.50.

Glinka: Russian and Ludmilla — Overture. City of
Birmingham Orchestra conducted by George Wel-
don. And Mendelssohn: The Hebrides Overture,
Op. 26 (“FingaPs Cave”). Halle Orchestra con-
ducted by Sir Malcolm Sargent. And Offenbach:
Orpheus in Hades — Overture. Philharmonic Or-
Orchestra conducted by George Weldon. One side,
and Strauss: Die Fledermaus — Overture. And
Borodin: Prince Igor — Overture. Halle Orches-
tra conducted by Leslie Heward. 1-12" disc
(*C-RL-3072) $2.98.

OCTOBER

T he ^ew VsXCords

1953

Berlioz Overtures. Philharmonia Orchestra con'
ducted by Paul Kletski. M2" disc (*C'RL'307l)
$2.98.

CONTENTS: Beatrice and Benedict; Judges of
the Secret Court, Op. 3; Benevenuto Cellini, Op.
23; The Corsair, Op. 21.

ORCHESTRA

Beethoven: Symphony No. 3 in E-flat, Op. 55

(“Eroica"). Rochester Orchestra conducted by
Erich Leinsdorf. M2" disc (*ORL'3069) $2.98.

Beethoven: Symphony No. 3 in E-flat, Op. 55

(“Eroica"). Royal Philharmonic Orchestra con'
ducted by Sir Thomas Beecham. M2" disc
(*C'ML'4698) $5.45.

Beethoven: Symphony No. 3 in E-flat, Op. 55

(“Eroica"). Vienna Philharmonic Orchestra con'
ducted by Wilhelm Furtwangler. M2" disc
(*UR'URLP'709?) $5.95.

Beethoven: Symphony No. 3 in E-flat, Op. 55

(“Eroica"). Pro Musica Symphony (Vienna)
conducted by Jascha Horenstein. M2" disc (*VX'
PL'8070) $5.95.

Beethoven: Symphony No. 3 in E-flat, Op. 55

(“Eroica"). Vienna State Opera Orchestra con'
ducted by Hermann Scherchen. M 2" disc
(*WEST'WL'5216) $5.95.

The appearance of five new versions of any item
in one month happens far less frequently than a
total eclipse of the sun, and with five new “Eroica"
Symphonies we thought it might be quite an idea to
give the assignment to two of our seasoned reviewers
without letting either \now that the other was going
to review the same wor\s. The results appear below,
and S. and W. will learn of this when they receive
their copies of our October issue. — Editor.

With five new Eroicas, plus some worthy ones
already in the catalog, to be considered, it may be
well to remind our readers that there is more than
one way to appraise a recording. Taking it from
the listener's standpoint, there are several ways, we
have found, that a listener listens to a recording.
Some of them go through the music with a score
in hand; some of them who know the music or know
how they think the music should sound from having
heard previous performances measure a record'
ing by this standard — with cheers and approval when
it coincides and with distaste when it does not.
Others sit back and imagine they are in a concert
hall — possibly placing themselves in a good seat of
a concert hall they frequent — and listen to a record'
ing as a concert hall experience. This last method
of listening is indeed a good one, probably the most
enjoyable, and probably the fairest from a critical
viewpoint. It must be admitted that what we enjoy
in an actual performance is sometimes considered

overwrought when heard on a recording. We often
want a recording to be a nearly ideal statement of
the score, one that will bear repeated hearings with'
out becoming annoying. But how often do we hear
the same work in a concert hall during one season?

For those who will listen to a recording of the
Eroica in their home three or four times a year, we
would say that the most invigorating performance is
the new Horenstein. This man is highly regarded in
European concert halls for his reading of the work
and it is easy to understand why. Here is a deeply
felt and highly dramatic interpretation of the score.
Horenstein does no malice to the score, he is always
in good taste, but he has a fervor and conviction
which are compelling, to say the least. He favors
slower tempi, not for the sake of being arbitrary, but
because they are the result of his feeling for the
music. The reproduction of this disc is superb in
every detail and the orchestra plays beautifully. It
was necessary, unfortunately, to break the second
movement between sides. Never before had a sym'
phony been written on so vast an architectural design
or with so much dramatic and emotional intensity
as the Eroica. It was an epoch'marking milestone
and remains today a formidable work; it deserves a
reading of imposing dimensions which conveys this
awareness and the awe of the interpreting conductor.

For those who want this work laid on the line
in the traditional manner, Leinsdorf is easily the
best of all available recordings — and there are about
seventeen available. His is the Toscanini'type of
reading, with a bit more warmth, suppleness, and
curve, and far better reproduction. Leinsdorf is
indeed admirable in every respect, and for those
who find Horenstein not to their liking, Leinsdorf
will be their choice.

As for the others, Furtwangler has many good
moments, but there are enough vagaries and distaste'
ful individual touches to spoil what may have been
a good concert hall performance. Scherchen is
straightforward and does a generally good job, yet
it is curiously laking in profile — not as good as
Leinsdorf — and his disc suffers from ugly and stri'
dent reproduction, sounds like smashing glass. This
type of fidelity may be high and wide, but it is not
handsome.

Beecham 's recording is the most fascinating of
them all. For a student, it will prove useful, for
he clearly demonstrates how every bar of the music
was written, with a clarity and logic that are a
revelation. His woodwinds play with their usual ex'
ceptional beauty, and his distinction of dynamics,
particularly between very soft, soft, and moderately
soft, is remarkable. The over'all impression does not,
however, convey the large proportions of the Eroica
Symphony.

Our comparison recordings were the Toscanini
and Walter, because there is a great preference for
the Toscanini (*V'LM'1042) and because we have

* Indicates LP 88 y rpm.
g Indicate* 45 rpm.

H. ROYER SMITH COMPANY

PAGE 2

OCTOBER

The Nm R ecords

1953

always preferred Walter in this work (*C'ML'4228).
Of all seven considered, Toscanini suffers the most
feeble reproduction — this work should be rerecorded
with better fidelity. Walter stands up well in repro'
duction with any of them, and we still like his
reading the best, except possibly for the Horenstein.

One final interesting point: we checked the tempo,
with a metronome, of all seven recordings of the
third movement Scherzo. Our score is marked 116;
this is how each takes it: Beecham 100, Horenstein
104, Walter 112, Scherchen 112, Furtwangler 116,
Leinsdorf 120, Toscanini 132. Seven renowned con'
ductors with different ideas. S.

The LP cornucopia spilled over with a vengeance
this month and deposited five new recordings of
Beethoven’s Symphony >fo. 3 in E'flat on the dealer’s
shelves.

Fortunately, insofar as space is concerned, two
of the five may be dismissed somewhat summarily.
Furtwangler’s performance on Urania is a mannered
one, full of erratic tempi and too individual concepts.
The recording is also nothing to get excited about.
Horenstein’s effort on Vox is a reasonable one but
suffers from distorted sound — the tympani sound
like pistol shots and, in short, the record is not agree'
able to the ear. Vox also achieves the distinction
of being the only one of the five to break the slow
movement in the middle, placing part on one side
of the disc, the remainder on the other.

Of the other three, the Scherchen and Beecham
recordings have some merit. Herman Scherchen, on
Westminster, enjoys about the best sound. His read'
ing of the score is a tempestuous one; he heightens
many of the dramatic moments but never indulges
in eccentricities or bad taste. His tempi are fairly
uniform, and it is a fiery Eroica that emerges. Sir
Thomas’ performance is, as one can readily imagine,
just the opposite. Sir Thomas has obviously made
up his mind that there will be no nonsense about
the Eroica. It is a foursquare job, with little imagi'
nation, that might be easy to live with — if a little
on the pedantic side.

The surprise, for those who may not have followed
his work and career, comes with Erich Leinsdorf’s
truly superb reading. Here is a performance that
strikes a happy medium between Scherchen’s and
Beecham’s being more dramatic than the latter’s,
less so than the former's. For this reviewer’s taste
it is welbnigh perfect, being preferable to the “stand'
ard’’ Toscanini version. It is a straightforward read'
ing, with perhaps more than ordinary emphasis on
the brass (which is all to the good), and is further
characterized by excellent phrasing, careful attention
to detail and superior orchestral playing and re'
cording.

An additional advantage accruing to the purchaser
of the Columbia Entre record is the very modest

price — truly one of the best record buys of this or
any year. W .

Mendelssohn: Symphony No. 4 in A, Op. 90
(“Italian’’). One side, and Beethoven: Symphony
No. 8 in F, Op. 93. Royal Philharmonic Orchestra
conducted by Sir Thomas Beecham. M2" disc
(*C'ML'4681) $5.45.

Mendelssohn: Symphony No. 4 in A, Op. 90
(“Italian’’). Vienna Symphony Orchestra con'
ducted by Otto Klemperer. One side, and Schu-
bert: Symphony No. 4 in C minor (“Tragic”).
Lamoureux Orchestra conducted by Otto Klem'
perer. M2" disc (*VX'PL'7860) $5.95.

What a conductor can do to (or for) a score is
something that is a never ending source of amaze'
ment. Just about every conductor has performed
the Mendelssohn “Italian” Symphony, and it is now
considered in that peculiar fringe of lighter music
which excludes it from the greater masterworks.
Most conductors perform the work, especially the
end movements, as fast as they can execute the
music — which is generally faster than their orchestras
can execute all the notes. For the first time in our
memory, which includes countless performances and
recordings of the well worn “Italian,” we have just
heard all the notes in the score, and our profound
thanks to Beecham for this feat. Beecham’s whole
approach to this score is radically different from any
other we have heard. His evaluation of the music
is honest and faithful to the composer's writing —
not an approach that sets out to display the technical
prowess of his orchestra. Beecham’s tempo in the
first movement is about 126 (for a dotted quarter);
Klemperer's tempo runs between 138 and 144; and
the celebrated Koussevitzky recording, while highly
erratic, hovers around 160. Hearing Koussevitzky
after Beecham is pathetic, if not disgraceful (a dollar
for every note left out and a dime for every note
unduly slightly by Koussevitzky would provide a
handsome retirement fund for a record reviewer).
As with the first movement, so with the others, in'
eluding a remarkable clarifying of the final Salta'
rello. Even the third movement acquires a new lease
on life by Beecham, who treats it, properly, as a
minuet. The net result of the whole effort is a
symphony of remarkable construction and greater
beauty than most folks have ever heard in this work.
The general effect is pastoral, and in Beecham’s
treatment, this work is hardly inferior to Beethoven’s
“Pastoral” Symphony. You must hear it to believe
it. The coupling is a superb reading of the Beethoven
Eighth; both works are clothed in magnificent repro'
duction, with the “Italian” deriving great benefit
from the clarity of the recording.

Klemperer is a much adn^ired conductor by this
listener, but his “Italian” hews to a tradition ex'
posed by Beecham as completely phony, nor is the
Klemperer orchestra in the same league with
Beecham’s, nor is the reproduction. Klemperer’s

PAGE 3

“THE WORLD'S RECORD SHOP"

Indicate i IiP 88^ rptv
0 Indicate* 48 rpuv.

OCTOBER

The N ew R ecords 1953

“Tragic" Symphony is good, but so is van Beinum's
on London (*L'LL'736) with better reproduction.

S.

Mozart: Deutsche Tanze Nos. 1-5, K. 600. And
Mozart: Adagio for English Horn, 2 Violins
and Violoncello. One side, and Mozart: Adagio
in B, K. 440a. London Baroque Ensemble con*
ducted by Karl Haas. HO" disc (*D'DL'4055)
$2.50.

Haydn: St. Anthony Divertimento. One side, and
Haydn: Divertimento in G. London Baroque
Ensemble conducted by Karl Haas. MO" disc
(*D'DL'4066) $2.50.

The London Baroque Ensemble under the direc'
tion of Karl Haas has specialized in music of the
Baroque Period for a number of years and has made
many very successful recordings. The two LP discs
listed above are well up to the high standard set
by this unique organization. Baroque Music is some-
thing that one likes or he doesn’t, and so a word
of caution is in order. If you are not familiar with
this style of rhythm and melody, better try one of
these records before you buy any.

Berlioz: Romeo et Juliette (complete). (Sung in
French). Margaret Roggero (contralto), Leslie
Chabay (tenor), Yi'Kwei'Sze (bass), the Harvard
Glee Club and the Radcliffe Choral Society d L
rected by G. Wallace Woodworth, and the Boston
Symphony Orchestra conducted by Charles
Munch. 8'7" discs in box (0V'WDM'6O11)
$10.29. M2" discs in box (*V'LM'6011) $11.44.
“No one, I suppose, will misunderstand the genre
to which this work belongs . . Thus wrote
Berlioz, tongue in cheek, in the preface to his Opus
17, the dramatic symphony Romeo et Juliette. Of
course, misunderstandings have been rife since the
work was first performed. This is neither the time
nor the place to go into a discussion of the technical
aspects of Berlioz’ extraordinarily original and vivid
conception. Suffice it to say that this magnificent
music has two programs, both formal. The reader or
owner of the discs is referred to Jacques Barzun’s
exceptionally informative notes that accompany the
set, or, even better, to his biography of the com'
poser, Berlioz and the Romantic Century.

The performance that has been captured on these
two discs is one of unparalleled artistic and technical
merit. Charles Munch, his soloists, chorus and or'
chestra play and sing with inspired insight and
Berlioz’ magical score has the success it deserves.
Hearing the work in its entirety is a tremendous
experience. Portions like the §ueen Mab Scherzo
and the Concert et Bal, taken out of context, still
sound wonderful; but the effect when heard as part
of the whole is virtually indescribable.

The Boston Symphony Orchestra has never
sounded better. Its innate virtuosity serves it well
in this complex music; and the superb brass section,

the wonderful winds and strings can only be de'
scribed as magnificent! The soloists sing with feeling
and expression doing justice to the composer’s ideas.
Miss Roggero’s work in the Prologue is excellent
and Leslie Chabay sings the Scherzetto (also in the
Prologue) in a distinguished fashion. Yi'Kwei'Sze,
as le Pere Laurence, has the most difficult task and
comes through with flying colors. His is a great
voice and, even more than the other singers, seems
to get inside the music. It is a vocally compelling
and artistically superior performance.

RCA Victor’s engineers. Pulley and Layton, have
achieved the finest sound to date on records; and
the set, in this reviewer’s opinion represents the
highest peak yet reached by the phonograph, both
from a musical and from a technical viewpoint.

W.

Respighi: The Pines of Rome. One side, and
Respighi: The Fountains of Rome. NBC Sym'
phony Orchestra conducted by Arturo Toscanini.
4'7" discs in box (0V'WDM'1768) $5.14. M2"
discs in album (*V'LM'1768) $5.72.
Westminster, Mercury and RCA Victor seem to
be playing a sort of musical “Can You Top This?”
with Respighi’s Pines and Fountains of Rome. West'
minster started it all (TNR Mar. ’53) with a mag'
nificent recording and pretty fair performance; then
came Mercury’s effort (TNR June ’53) with Dorati
in another fine, if somewhat different approach both
technically and musically; and now RCA has urn
leashed Arturo Toscanini and the NBC Orchestra
on Respighi's scores, and he and the engineers have,
literally, a Roman Holiday.

There can be no gainsaying the fact Toscanini is
in his element in this music. All the theatricallity
and, in many instances, the genuine poetry of the
pieces, are realized in masterly fashion. If ever
music could be said to sound better than it really
is (and one sometimes doubts whether this is pos'
sible), this is an outstanding instance.

Now there is another aspect of this issue that,
when taken into consideration with some other recent
releases by the same company, offers some food for
thought. It seems to this reviewer (and to several
other persons with whom he has spoken) that RCA
Victor is delibrately embarking on a campaign to
recapture the prestige that it once had in the field
of good music. The old magic of “Red Seal’’ became
dimmed in the last decade or so, but a series of
issues such as make up the September release will
go a long way to re'establish this pioneer company
as a leader in the field. Just consider what it has
done with this “album.” In addition to technical
accomplishments of the very highest order RCA has
included twelve superb photographs of pines and
fountains in Rome, each measuring 12"xl2" and one
spread of 12"x24". An informative and appreciative
running commentary is supplied by Vincent Sheehan.
Truthfully, this writer has been an avid phonophile

• Indicates LP 88 ^ rpm.
0 Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 4

OCTOBER

T he Nm Records

1953

for over twenty'five years, but he has never seen or
heard anything to equal the sheer opulence of this
set. The only comparable affairs, and in a more
limited field are the Haydn Society’s Orfeo and
Clavier Ubung.

What will owners of either of the previous record'
ings of this music do? There are two courses of
action — close eyes and ears to this new release and
be satisfied with what you have; or see and hear the
new one and buy it. There seems to be no middle
ground. W.

Moussorgsky — arr. Ravel: Pictures at an Exhibition.

One side, and Stravinsky: L’Oiseau de Feu.

Philadelphia Orchestra conducted by Eugene Or'

mandy. M2" disc (*C'ML'4700) $5.45.

The pairing of these two works on one LP disc
gives good value to the customer, but it also serves
as a double'barrelled showpiece for the Philadelphia
Orchestra, for both of these works are virtuoso
vehicles for any symphony orchestra. That the Phila'
delphians do themselves proud is no surprise. Their
technical finish and their tonal splendor in each work
could well be the envy of any other conductor and
orchestra in existence. The only room for improve'
ment would be in the opening trumpet solo passages
of the Pictures, which offers a rather unpleasant style
and tone of trumpet playing. That is, however, a
minor matter which is soon out of the way. Or'
mandy’s reading of both these pieces is strictly in
the supercharged, virtuosic, brilliant manner. This
is particularly true of the Firebird Suite, which
receives what we commonly call a concert perform'
ance as distinguished from a ballet performance style
of interpretation. The admirable Dorati — Minne'
apolis (*ME'MG' 50004) is quite in the ballet tradi'
tion, with more measured tempi and less interpretive
freedom. Which style you prefer will determine
which disc you will enjoy more. Our preference tends
toward a concert'type reading and so towards Or'
mandy, whose first'chair men play with surpassing
beauty. Where Dorati’s disc is coupled with the
Borodin Symphony [o. 2, Ormandy has a more
popular coupling in the Pictures.

Ormandy’s performance of the Ravel orchestra'
tion of the Pictures at an Exhibition is a workman'
like job which abounds in gorgeous orchestral sounds
and magnificent fortissimo effects. Columbia has
gotten about every decibel of sound in the grooves
that existing equipment could possibly reproduce.
This disc may give tracking trouble on some machines
(at the very end of the side). It is an heroic effort
which gives competitive versions quite a run for
their money. Kubelik and Chicago (*ME'MG'
50000) have recently been considered tops in Pic'
tures ; but their performance occupies both sides of
a 12" disc. Kubelik's reading seems to be more
carefully thought out than Ormandy’s. Another
Pictures is coupled with Tchaikovsky’s Romeo and
Juliet, conducted by Guido Cantelli (NBC and Phil'

harmonia Orchestras respectively) (*V'LM'1719).
This disc has never appealed to us. For all around
effectiveness, performance, recording and coupling,
we would recommend Ormandy. S.

Prokofiev: Symphony No. 5 in B, Op. 100. Danish
State Radio Symphony Orchestra conducted by
Eric Tuxen, with Peter Ase (piano). M2" disc
(*L'LL'672) $5.95.

The Fifth Symphony of Prokofiev was the first
he wrote as a Soviet citizen. He had left his native
country in his early twenties, preferring the free
artistic life of the western world to the state'con'
trolled artistic policy of the U.S.S.R. What prompted
his return to the U.S.S.R. and subsequent adoption
of Soviet citizenship in his early forties remains a
moot point. Some say it was an awakening political
conscience; others suggest that he realized that only
by being firmly rooted in its own soil could his
music find a settled style and serious purpose. There
is no title or message in the Fifth. After composing
Alexander J^levs\ y, Prokofiev was probably ready to
indulge in a little pure symphonic thinking. The
result is a work which is considered one of his
greatest. While generally serious, there are many
touches, as the music progresses, that are typically
Prokofiev, and rather mischievous and humorous.

The present disc is the third recording to reach
LP’s. Rodzinski (*C'ML'4037) first recorded the
work, followed by Koussevitzky (*V'LM'1045).
Until now, Rodzinski’s disc was the choice. As both
the previous versions were made several years ago,
the present recording would naturally have the edge
in matters of reproduction. London has supplied
some of its best quality, to make it a closed issue
as far as reproduction is concerned. As for the per'
formance, Rodzinski had many moments that com'
pete vigorously with Eric Tuxen; Koussevitzky was
rather too fussy and his disc is not as good as either
of the others. Taking the disc as a whole, we would
easily recommend the new Tuxen effort, as a sincere
reading and a good reproduction. The “B” side of
our copy had too much surface noise, so check your
copy first — a good test spot is at the beginning of
the last movement. S.

Sibelius: Symphony No. 5 in E-flat, Op. 82. One
side, and Sibelius: Symphony No. 6 in D minor,

Op. 104. Stockholm Radio Symphony Orchestra
conducted by Sixten Ehrling. M2" disc (*ME'
MG'10142) $4.85.

This disc is part of a series of five which contain
all seven Sibelius symphonies. The present disc con*
tains the first LP recording of the Sixth. As with
the other performances, these two are splendid read'
ings. Sixten Ehrling is Sweden’s most brilliant young
conductor, and he is thoroughly schooled in the
traditions regarding interpretation of Sibelius sym'
phonies. The Stockholm Radio Orchestra is con'
sidered one of the three finest in Scandinavia; their

PAGE 5

"THE WORLD'S RECORD SHOP"

Indicates LP 88 J^ rpm
0 Indicates 45 rpm.

OCTOBER

The New R ecords 1953

previous recordings have been well received. Mer-
cury's reproduction is of today s best, which makes
this a highly desirable disc. We can recommend it
without reservation, and believe it will be a long
time before any other LP's offer finer recordings of
these Sibelius symphonies. These two coupled on
one disc at the price asked is also a good value.

Other than the First and Second, the Fifth is one
of the most popular of Sibelius' symphonies. The
composer claims any programmatic content is strictly
secondary to the directly symphonic vein of the
work; however, the annotators have written much
about the probable programmatic content. The work
was written in mighty troubled times for Finland,
as well as for the composer, who was beset with
physical difficulties. The Bolsheviks came to Jar-
venpaa, with the Germans on their heels. During
the war, many of Sibelius' neighbors were murdered;
he was a prisoner on his own grounds. After finag-
ling his way to Helsinki, where he suffered many
privations, the liberating Germans brought an end
to this sort of thing and Sibelius returned to his
Fifth Symphony, as well as to sketching his Sixth
and Seventh. The third and final version of the Fifth
was completed in the autumn of 1919; the Sixth did
not follow until February of 1923. Whatever the
circumstances, this pair of symphonies will remain
among the truly great creations in this form. S.

Beethoven: Symphony No. 9 in D minor, Op. 125

(“Choral"). Philharmonic'Sym phony Orchestra
of New York conducted by Bruno Walter, with
Irma Gonzalez (soprano), Elena Nikolaidi (con-
tralto), Raoul Jobin (tenor), Mack Harrell (barF
tone), and the Westminster Choir directed by
John Finley Williamson. Three sides, and
Beethoven: Symphony No. 8 in F, Op. 93. Phil'
harmonic'Symphony Orchestra of New York con'
ducted by Bruno Walter. 2-12" discs in album
(*C-SL'186) $12.11.

In the autumn of 1949 Columbia released Bruno
Walter's recording of Beethoven 7<[inth with the
Philharmonic'Symphony of New York, the West'
minster Choir, and the soloists listed above. The
critics for the most part praised Walter's reading
very highly but were very much disappointed in the
vocal section of the final movement. Despite this
unfavorable criticism this version was favored by
many music lovers, and it has been a steady seller
through the years. Columbia has recently rerecorded
the final movement with the same soloists and chorus
with excellent results and this superior recording is
included in the set listed above. Also the fourth side
of the present set contains a fine recording of
Beethoven Symphony T^o. 8 in F instead of Brahms’
Song of Destiny, which was the filler for the earlier
set. This is a marked improvement because the critics
were as one in stating that the recording of the
Brahms item was nothing of which anyone could be
particularly proud.

IMPORTANT NOTE: Columbia has made a
most unusual offer to those persons who have pur'
chased the earlier set (*C-SL'156). If they will
return the second record (*C-ML-4201) to Columbia
Records, Inc., Dept. P, 1473 Barnum Ave., Bridge'
port 8, Conn., they will receive without charge a
copy of *C'ML'4697 containing the rerecorded
choral movement. Please note that the older record
must be returned directly to Columbia; do not take
it to your local dealer, for this transfer must be
made between the original purchaser and Columbia
Records, Inc., at Bridgeport.

Mozart: Symphony No. 40 in G minor, K. 550.
One side, and Mozart: Symphony No. 35 in D,
K. 385 (“Haffner”). Philharmonic'Symphony Or'
chestra of New York conducted by Bruno Walter.
M2" disc (*C-ML-4693) $5.45.

We believe that most music lovers will think that
Bruno Walter’s reading of these two popular Mozart
symphonies are just about tops. He gives them
everything he has including his loving care. The
only possible criticism we can imagine is that in
using such a large orchestra the results may seem
to be a bit bigger than a Mozart symphony should
really be.

Clair de Lune and other Popular Favorites.

Andre Kostelanetz and his Orchestra. 1-12" disc
(*C'ML-4692) $5.45.

CONTENTS: Clair de lune (Debussy); A Musi'
cal Snuff 'Box (Liadov); Playing Around (Stix — arr.
Ormandy); Barber of Seville — Overture (Rossini);
The Little Train of the Caipira (No. 4 of “Bachianas
Brasileiras No. 2”) (Villa'Lobos) ; Pavane pour une
infante defunte (Ravel); Der Rosen\avalier —
Waltzes (R. Strauss).

This LP disc is for Kostelanetz fans. The Maestro
has selected some staples from the classical and near'
classical repertory, some of which, such as A Musical
Snuff'Box and Playing Around, often find them'
selves on children’s symphony orchestra programs.
He presents them in his usual ingratiating style.

Debussy: Rhapsody for Saxophone and Orchestra.

Jules de Vries (saxophone) with the Frankenland
State Symphony Orchestra conducted by Erich
Kloss. And Debussy: Clair de lune. Frankenland
State Symphony Orchestra conducted by Erich
Kloss. One side, and Debussy: Fantasy for Piano
and Orchestra. Helmut Schultes (piano) with the
Frankenland State Symphony Orchestra conducted
by Erich Kloss. M2" disc (*LYR'LL'38) $5.95.
First LP recordings of Debussy’s Rhapsody for
Saxophone and Orchestra, a work he wrote rather
unenthusiastically on commission during the period
of his maturity, and the Fantasy for Piano and Or'
chestra, an early work, with a nicely revitalized
reading of Clair de lune, which one suspects has
been thrown in just to show how it ought really to

• Indicates LP 8S^ rpm
0 Indicate* 45 rpm

H. ROYER SMITH COMPANY

PAGE 6

OCTOBER

The Records

1953

be done, are combined on one of the most rewarding
Debussy LP’s to have yet occurred. Performances,
throughout, are in the finest impressionistic tradition;
present, also, is a fidelity of reproduction which, as
in the case of all new Lyrichord releases, is except
tional. C.

Tchaikovsky: Capriccio Italien, Op. 45. One side,
and Tchaikovsky: Suite No. 3 in G, Op. 55 —

Theme and Variations. L’Orchestre de la Societe
des Concerts du Conservatoire de Paris conducted
by Carl Schuricht. IT 2" disc (*L-LL-640) $5.95.
A number of other LP recordings are available of
these well-known Tchaikovsky selections. The inter'
est in the present disc lies in the fact that the
orchestra is conducted by the distinguished and ven-
erable Carl Schuricht who, despite his 73 years, is
one of the most active and sought-after conductors
in Europe. Some American music lovers may re-
member that Herr Schuricht visited the United States
in 1929 when he filled a number of engagements
with the St. Louis Symphony.

Mendelssohn: A Midsummer Night’s Dream — In-
cidental Music. One side, and Schubert: Rosa-
munde — Incidental Music. Concertgebouw Orches-
tra of Amsterdam conducted by Eduard van
Beinum. 1-12" disc (*L-LL-622) $5.95.

We know that there are many versions of this
popular Mendelssohn and Schubert music already
available on LP discs; but because of the excellence
of BeinunTs performances and the fidelity of these
London recordings we cannot help welcoming this
new release. If you are thinking of adding these
selections to your library you should at least listen
to the present versions.

Wagner: Gotterdammerung — Siegfried’s Rhine
Journey. One side, and Wagner: Gotterdammer-
ung — Funeral March. And Wagner: Die
Walktire — Magic Fire Music. Wurttemberg State
Orchestra (Stuttgart) conducted by Ferdinand
Leitner. 1-10" disc (*D-DL-4072) $2.50.

For the Wagner fans this little LP disc is a mar-
velous value. It contains three very popular selec-
tions, and they have been splendidly played and
faithfully recorded.

Beethoven: Concerto No. 3 in C minor, Op. 37.

Jose Iturbi (piano) conducting the RCA Victor
Orchestra. 4-7" discs in box (0V-WDM-1759)
$5.14. 1-12" disc (*V-LM-1759) $5.72.

In the April 1952 TNR, in reviewing this work
played by Lili Kraus with the Vienna Symphony
under Moralt (*VX-PL-7270), we said: “A com-
plete hearing of this recording plus a number of
comparisons (in part) with several other LP discs

of the work leaves us with the impression that this
is quite the finest recording of the work we ever
heard.” That statement and the superlatives which
followed can be repeated again, for we still think
the Kraus disc is the best of the nine versions now
listed. Several others are good, but none of them
have the same measure of that intangible something
which makes the Kraus so much more of a superb
listening experience.

Iturbi plays this work with his usual clean, brisk,
technically accurate style. It cannot be said that
he does malice to the score, and there may be some
who think his playing is a good statement of the
Beethoven idiom. But to play a recording such as
the Kraus side by side with the Iturbi will reveal a
style and a subtlety of playing which is far more
admirable. The matter of orchestral accompaniment
is vastly on the side of the Kraus recording, where
you hear a seasoned and resilient orchestra playing
noticeably more attractively than does the RCA
Orchestra under soloist Iturbi. RCA has supplied
very forward reproduction, clear and fruitful; but
even this seems to militate against the performance,
for in the second movement the piano has no per-
spective; it is just too bold and close. Kraus’ piano
is more distant and the result is a more sympathetic
tone and consequently a more satisfying statement
of the expressive melody. Lili Kraus and Moralt
both approach the rondo finale in a more relaxed
way and in a less cut-and-dried fashion. The more
we listened to the Kraus recording the more we
were convinced of its superiority. S.

Castelnuovo-Tedesco: Concerto for Guitar and

Orchestra. Andres Segovia (guitar) with the New

London Orchestra conducted by Alec Sherman.

One side, and Guitar Recital. Andres Segovia

(guitar). 1-12" disc (*C-ML-4732) $5.45.

CONTENTS: Two Studies (Villa-Lobos); A rada
and Danza (Torroba — arr. Segovia); Fandanguillo
(Turina — arr. Segovia); Rondo on a Theme by
Fernando Sor (Ponce — arr. Segovia); Sonatina Mer-
idional (Ponce — arr. Segovia).

As we have written before, a reviewer’s life is
not a happy one and this is largely so because he
must often listen to the tenth or twelfth recorded
version of a set-piece in the repertory that has already
been highly satisfactorily recorded several times
previously. However, every once in a blue moon,
something new, interesting and delightful comes
along and peps us up no end. Such an item is the
very lovely Concerto for Guitar and Orchestra that
Castelnuovo-Tedesco composed especially for the
renowned guitarist, Andres Segovia. It is certainly
new to us, although it was written in 1939 shortly
before the composer sadly ^left his native Italy; it
is interesting because of the fine balance that is
maintained between the solo instrument and the
chamber orchestra that supplies the accompaniment;
also the pleasing melodies make it truly delightful.

PAGE 7

'THE WORLD'S RECORD SHOP"

Indicates LP 83^ rpns

OCTOBER

The R ecords

1953

For those who have within their hearts a love for
simplicity and beauty this little work should hold a
particular charm. We enjoyed it thoroughly and do
not hesitate to recommend it to all discerning music
lovers.

The second side of this LP disc contains a short
recital of solo numbers which have often appeared
on the programs of Segovia's many successful con'
cert appearances. R.

CHAMBER MUSIC

Mozart: Divertimento in E-flat, K. 563. Jean
Pougnet (violin), Frederick Riddle (viola) and
Anthony Pini (violoncello). IT 2" disc (*WEST'
WL'5191) $5.95.

Mozart: Trio No. 3 in E, K. 542. One side, and
Mozart: Trio No. 5 in G, K. 564. Agi Jambor
(piano), Victor Aitay (violin) and Janos Starker
(violoncello). M2" disc (*PE'SPLP'521) $5.95.
Mozart: Quartet in F, K. 370. Harold Gomberg
(oboe), Felix Galimar (violin), Gabriel Banat
(viola) and Alexander Kouguell (violoncello).
One side, and Telemann: Sonata in C minor.
And Telemann: Partita No. 5 in E minor. Harold
Gomberg (oboe) and Claude Jean Chiasson
(harpsichord). M2" disc (*D'DL'9618) $5.85.
Mozart: Quartet No. 8 in F, K. 168. One side, and
Mozart: Quartet No. 17 in B-flat, K. 458. Griller
String Quartet. IT 2" disc (*L'LL'658) $5.95.
Mozart: Quartet No. 6 in B-flat, K. 159. One side,
and Haydn: Quartet in F, Op. 3, No. 5. Griller
String Quartet. 1T0" disc (*L'LS'656) $4.95.
Recently a vast number of chamber music records
have arrived at the studio; among them are the five
listed above. Most of this music has already been
satisfactorily recorded. However, there are two items
in the group that are new to the LP lists and are
of more than passing interest. They are the very
excellent recordings of Mozart's Quartets T^o. 6 in
B'flat, K. IS 9 and Ho. 8 in F, K. 168.

Hindemith: Sonata for Flute and Piano. And
Guarnieri: Sonatina for Flute and Piano. One
side, and Milhaud: Sonatina for Flute and Piano.
Schaposchnikow: Sonata for Flute and Harp.

Sebastian Caratelli (flute), Gordon Manley (piano)
and Ann Sacchi (harp). M2" disc (*NEW
RECORDS NRLP'406) $5.95.

The intellectual intricacies abounding through
these four Sonatas certainly deserve a more detailed
attention than we could give them here. Suffice it
then to say that, after a onediearing acquaintance'
ship, they all appear to be proficiently conceived,
each in itself unique; and the four together will
prove a handsome addition to any flute devotee's
library.

Sebastian Caratelli needs little introduction to
those who know their flutists; for those who do not,

he is a gentleman who plays with subtlety, maturity
and persuasion. His co'performers do not fall below
his standards in any way, and all combine to make
a vital addition to the small selection of flute music
on records. It may interest some, also, to know that
the largest selection of flute music on LP has been
issued by New Records, Inc. (not connected with this
publication). C.

Beethoven: Trio in D, Op. 70, No. 1 (“Ghost").
One side, and Beethoven: Trio in E-flat, Op. 70,
No. 2. Albeneri Trio: Erich Itor Kahn (piano),
Giorgio Ciompi (violin) and Benar Heifets
(violoncello). IT 2" disc (*ME'MGT0139) $4.85.
Beethoven: Trio in G, Op. 9, No. 1 . One side, and
Beethoven: Trio in D, Op. 9, No. 2. Jean
Pougnet (violin), Frederick Riddle (viola) and
Anthony Pini (violoncello). M2" disc (*WEST'
WL'5198) $5.95.

Beethoven: Quartet in D, Op. 18, No. 3. One side,
and Beethoven: Quartet in C minor, Op. 18,

No. 4. Barylli Quartet. M2" disc (*WEST'WL'
5211) $5.95.

Beethoven: Quintet in E-flat, Op. 16. Leopold Mitt'
man (piano), Harry Schulman (oboe), David
Weber (clarinet), Elias Carmen (bassoon) and
Fred Klein (French horn). One side, and
Beethoven: Quartet in E-flat, Op. 16. Leopold
Mittman (piano), Arnold Eidus (violin), David
Mankovitz (viola) and George Ricci (violoncello).
M2" disc ( *STRAD'STR'6 16) $5.95.

All of the Beethoven chamber music on the above
four LP discs is already represented by adequate
recordings in the present catalogs. We are therefore
merely listing these releases so that our readers may
be made aware of their availability.

Schubert: Sonata in A minor (“Arpeggione"). One
side, and Schumann: Fantasiestucks, Op. 73. And
Schumann: (3) Romanzen, Op. 94. Maurice
Gendron (violoncello) and Jean Fran^aix (piano).
M2" disc (*L'LL'654) $5.95.

Schubert: Sonata in A minor (“Arpeggione").
Enrico Mainardi (violoncello) and Guido A.
Borciani (piano). 1 TO" disc (*D'DL'7539) $3.85.
Now we have five recorded versions of Schubert’s
Sonata in A minor for 'cello and piano, and who
shall say which is the best? We were very favorably
impressed with the London recording by Maurice
Gendron and Jean Fran?aix.

Franck: Quintet in F minor. Hollywood String
Quartet with Victor Aller (piano). IT 2" disc
(*CLT>'8220) $5.70.

On this LP disc the Hollywood String Quartet with
Victor Aller at the piano gives a superb performance
of Franck’s Quintet in F minor. The balance be'
tween the piano and the quartet is ideal, and the
reproduction is certainly of the best. We prefer this
version to the London recording by the Chigi Quintet.

• indicates LP 83 y 3 n>m
^ Indicates 4.5 n>m.

H. ROYER SMITH COMPANY

page e

OCTOBER

The Nm Records

1953

OPERA

Wagner: Der fliegende Hollander (complete).
(Sung in German). Annelies Kupper (soprano);
Wolfgang Windgassen, Ernst Haflinger (tenors);
Sieglinde Wagner (contralto); Josef Metternich
(baritone); Josef Greindl (bass); RIAS Sym'
phony Orchestra and Chorus conducted by Ferenc
Fricsay. 3'12" discs in album (*D'DX'124)
$17.55.

This is the second complete recording of Wagner’s
Der fliegende Hollander. The other, an early issue
by Mercury (TNR June ’50) is surpassed on all
counts. The Flying Dutchman was first performed
on 2 January 1843 at Dresden with Wagner con'
ducting. Since that time, although subsequent
operatic scores by others and even by Wagner him'
self have made it seem “old'fashioned,’’ it has still
retained a degree of popularity.

Decca’s cast, under Ferenc Fricsay’s able direction,
perform excellently. In the title role, Josef Metter'
nich acquits himself in creditable fashion. One could
imagine a more inspired characterization; neverthe'
less Herr Metternich is always convincing, and his
robust baritone is equal to all the demands he places
on it. Daland, in the person of the ever reliable and
always vocally excellent Josef Greindl, is a sterling
portrayal. This column has commented before con'
cerning his obvious gifts, and he uses them with
intelligence in this performance. Erik is sung by
the young Wolfgang Windgassen, and it is a
superior job, being, along with Greindl’s Daland,
vocally the best in the set. Ernst Haflinger, as the
steersman, is neither good nor bad, only undistin'
guished. His vocal equipment is limited.

Annelies Kupper does well as Senta. Her singing
of the ballad Traft ihr das Schiff is distinguished by
a youthful voice and a genuine understanding of the
role. These features carry through her whole per'
formance. Sieglende Wagner’s Mary is an example
of what a sincere artist can do with a minor role.

The chorus, which plays an essential role in the
proceedings, and the orchestra which is also all'
important, sing and play with verve and intelligence.
The score, about which a contemporary of Wagner’s
complained that “the wind . . . blew out at you
whenever you opened (it),’’ is made to sound like
it was “born on the sea and still has its home on
it’’ thanks to Fricsay’s earnest direction.

The sound is good, and mention must be made of
the fine booklet Decca has supplied that includes an
exhaustive analysis of the opera by Ernest Newman,
a note on the opera by Louis Untermeyer, and a
fine new translation of the libretto. There are also
illustrations, both pictorial and musical that, com'
bined with its many other merits, make the album
a desirable one. W.

Verdi: Otello (complete). (Sung in Italian). Herva
Nelli, Nan Merriman (sopranos); Ramon Vinay
(tenor); Giuseppe Valdengo (baritone); mixed
chorus directed by Peter Wilhousky; boys’ chorus
directed by Eduardo Petri; and NBC Symphony
Orchestra conducted by Arturo Toscanini. 12'7"
discs in box (0V'WDM'61O7) $14.89. M2"
discs in box (*V'LM'6107) $17.16.

Otello is one of those landmarks of the lyric
theatre that seldom receives a performance that does
justice to Verdi’s great conception. Some of the
difficulty nowadays lies in being unable to obtain
the services of a capable tenor. A strong hand at
the orchestral helm is also required. Next in im'
portance are a baritone and soprano who can realize
the possibilities of Iago and Desdemona (no small
order!).

The present recording, made at the broadcasts of
December 6th and 13th, 1947, does not have a good
tenor. Ramon Vinay’s voice is unmusical to begin
with, and he screams his way through the opera in
a manner that is most unsatisfactory to this reviewer.
Above an “A” his voice acquires a wobble that is
decidedly unpleasant. It is to his credit that he tries,
but his heroics are not based on any genuine under'
standing of the role. His later recording of some
of this music for Columbia (TNR May ’52) is a
little better. Valdengo is a pretty good Iago but
he does not have too much voice. He is, however,
superior to his counterpart in the complete Urania
set. His conception of the role is good and his type
of baritone (i.e. a genuine baritone, not one of the
Anglo'Saxon or Nordic bass'baritones so popular
these days) is musically suited to the part. Herva
Nelli is an excellent Desdemona whose fine lyrico'
dramatic soprano is always handled with intelligence,
both dramatically and musically. The minor roles are
in minor hands.

The real stars of the performance are Arturo
Toscanini and his NBC Orchestra. The orchestral
music has never sounded so thrilling, and it points
up the great shame that a more competent Otello
could not have been engaged. And yet, in spite of
the many vocal and dramatic inadequacies, this re'
cording stands as the best Otello on LP because of
Toscanini. It is superior to the other complete
recording on Urania (TNR May ’52) and to the
excerpts on Columbia.

RCA Victor’s engineers have done an amazing
job in refurbishing the six'year'old tapes (or more
likely, acetate discs), and the sound is very good.
The packaging, in accordance with what seems to
be RCA’s new policy (i.e. to regain its leadership
in the record field) is thoughtful and intelligent for
a libretto showing Italian text, English translation
and Shakespearean source, notes on the opera and
a comprehensive version of the story are all included.

W.

PAGE 9

"THE WORLD'S RECORD SHOP"

Indicates LP 83 n>m

0 Indicate* 45 rotn

OCTOBER

The Nm Records

1953

Singers of the Golden Age (Vol. I). Emmy Destinn
(soprano) with accompaniments. 2" 12" discs in
album (^CLASSIC EDITIONS CE'7001) $11.90.
CONTENTS: Aida — Ritorna vincitor; Cavalleria
Rusticana — Voi lo sapete; Pagliacci — Balatella; Lo'
hengrin — Du Armste; Lohengrin — Euch liiften; Bar'
tered Bride — Marie's aria (Act I); 7 sjozze di Figaro
— Porgi amor; Carmen — Seguidilla; Carmen — Chan*
son boheme; Fliegende Hollander — Traft ihr das
Schiff; Z auberflote — Ach, ich fiihl’s; M ignon- —
Prayer; M adama Butterfly — Sai cos ebbe cuore;
M adama Butterfly — Tu, tu, piccolo iddio; Freischutz
— Wie nahte mir der Schlummer; Freischutz — Und
ob die Wolke; Dalihor — Aria (Act II) (Smetana);
Tannhauser — Dich teure Halle; T rovatore — D’amor
sull'ali rosee; Faust — Air de bijoux; Alleluja (Hum"
mel); Aus der ,, Hohelied ,> (Mendelssohn); Slova\a
Pisen (Kovarovic); Robert der Teufel — Eh'ich die
Normandie verlassen (Meyerbeer); Robert der Teufel
— Geh' sprach sie zu mir; Russal\a — Aria (Act I);
Damon (Stange).

These discs contain twenty'seven recordings that
were made in Europe in the early 1900’s, most of
which were never made available generally in
America. They are “antiques" with the surface noise
that was inherent in recordings of that period. While
the accompaniments are quite feeble, the superb
voice of Emmy Destinn comes through with amazing
fidelity — the art of this great dramatic soprano is
truly present. Many of us who can remember the
Metropolitan Opera prior to 1920 (Miss Destinn
retired from the Metropolitan in that year) can
recall her many outstanding performances with that
organization. For us these recordings will bring
back many thrilling memories, and for the younger
generation they will provide an introduction to one
of the greatest operatic artists of the present century.

Leoncavallo: I Pagliacci (complete). (Sung in
Italian). Victoria de los Angeles (soprano); Jussi
Bjoerling (tenor); Leonard Warren, Robert Mer*
rill (baritones); Robert Shaw Chorale directed by
Robert Shaw; and the RCA Victor Orchestra con"
ducted by Renato Cellini. Twelve sides, and Mas-
cagni: Cavalleria Rusticana (complete). (Sung in
Italian). Zinka Milanov (soprano); Carol Smith
(contralto); Jussi Bjoerling (tenor); Robert Mer"
rill (baritone); Robert Shaw Chorale directed by
Robert Shaw; and the RCA Victor Orchestra con"
ducted by Renato Cellini. 1 2"7" discs in box
(0V"WDM"61O6) $14.89. M2" discs in box
(*V"LM"6106) $17.16.

Utilizing the same techniques and artistic con"
science that made their previous domestic operatic
recordings in this series ( Rigoletto , Carmen and II
T rovatore ) so successful, RCA Victor now releases
the operatic twins, Cavalleria Rusticana and I Pag'
liacci. The casts are the best available to the com"
pany and the issue must be accounted a success.

In Cavalleria Rusticana the principals are Milanov,
Bjoerling and Merrill. Milanov is a superb Santuzza,
for she brings an air of credence to her delineation
of the unhappy creature. Vocally, of course, her
golden voice is more than equal to the demands of
the part so her characterization, with Mascagni’s
and Cellini’s help, emerges as three dimensional.
Bjoerling is a vocally secure Turiddu, a little re'
strained perhaps, but for continued listening this
could readily be an asset. Robert Merrill is an
adequate, if not sensational Alfio — the role is not a
fat one, but he gives his one aria all he has.

I Pagliacci is notable for the casting of Victoria
de los Angeles in the role of Nedda. She sings the
part for the first time here and her debut is a most
successful one. Vocally, she has all the characteristics
one associates with the part: she is sultry, scornful
and passionate by turns and always convincing. Her
voice, a soprano of uncommon range, is one of the
finest to be heard today. Leonard Warren’s big voice
is excellent for Tonio and his performance is con"
sidered and uniformly good. Robert Merrill, sound"
ing curiously like Warren, is a satisfactory Silvio.
Jussi Bjoerling’s Canio is also a good conception
and, like his Turiddu, a restrained one. He does,
however, loosen up in the finale and the work closes
with all the stops out.

The Shaw Chorale sings with all its wonted per"
fection and Renato Cellini’s direction is always sane
and musical. The recording, the accompanying
notes (by W. H. Auden, no less) and packaging
are worthy of the highest praise. Previous recordings
of these two war horses, notably Columbia’s and
Cetra’s, are not in the same class technically and
have little, if any, more to offer vocally. W.

Beethoven: Fidelio — Abscheulicher, wo eilst du hin?
(recit.); Komm Hoffnung (aria) (Act I). One
side, and Weber: Oberon — Ozean, du Ungeheure!
(recit.); Wolkenlos strahlt jetzt (aria) (Act II).
(Sung in German). Christel Goltz (soprano) with
the Bavarian State Orchestra conducted by Robert
Heger. MO" disc (*D"DL"4058) $2.50.

Mozart: Le Nozze di Figaro (excerpts). (Sung in
Italian). Elfride Trotschel, Annelies Kupper
(sopranos); Josef Greindl (bass); with orchestral
accompaniments. 1"10" disc (*D"DL"4065) $2.50.
CONTENTS: Non piu andrai (Act I); Venite
inginocchiatevi (Act II); Porgi amor (Act III);
Tutto e disposto (recit.), Aprite un po’ quegV occhi
(aria) (Act IV).

Two very fine and moderately priced discs appear
on Decca’s lists this month. The first of them fea"
tures Christel Goltz (who will be remembered as
the excellent Salome in Strauss' opera of the same
name recorded by Oceanic (*OCLP"302). Miss
Goltz sings two of the most famous arias for dramatic
soprano, Beethoven’s Abscheulicher, wo eilst du hin ?
and Weber’s Ozean du Ungeheure ! and, although
she has stiff competition from previous recordings

• indicate* LP 83^ rpm.
Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 10

OCTOBER

1 he N ew Records

1953

(notably Flagstad’s 78 rpm discs) she comes through
with flying colors. Her sense of style and her vocal'
ism are equally sure, while the youthfulness of her
voice adds an unexpected warmth and humanity
to the, at times, formidable music. Somewhat distant
but musically excellent orchestral accompaniments
are supplied by the veteran Robert Heger and the
Bavarian State Orchestra.

The other disc, containing four arias from Mozart’s
T^ozze di Figaro is a veritable treasure trove. Out'
standing is Elfride Trotschel’s singing of Susanna's
wonderful Venite inginocchiatevi. Here the essential
youthfulness both of her voice and her nature make
the sparkling music come to life exquisitely. It is
doubtful whether the music has ever been sung on
records to better effect. Annelies Kupper does very
well indeed with La Contessa's Porgi amor but this
reviewer has been spoiled by Victoria de los Angeles’
fabulous recording on a discontinued (?) 78 rpm
disc. None the less it is still a creditable job. There
remains Figaro’s two arias, ?{on piu andrai and
A prite un po’ as sung by Josef Greindl. Technically,
spiritually and stylistically Herr Greindl is a perfect
Figaro. The only fault (and it is late in the day to
reproach him for the fact) is that he is a bass, sing'
ing music written for baritone. The differences in
timbre between the two voices are too much for this
listener — he doesn’t like bass Figaro’s or Don Gio'
vanni’s. Apart from this personal stricture, the music
is sung to perfection. Superb orchestral accompani'
ments and recording make this little record a real
bargain at its modest price. W.

George London Sings Mozart. George London
(bass'baritone) with the Columbia Symphony
Orchestra conducted by Bruno Walter, l'l 2" disc
(*C'ML'4699) $5.45.

CONTENTS: The marriage of Figaro — Se vuol
ballare; La vendetta; Non piu andrai; Vendro, mentr’
io; Aprite un po’ quegl’ occhi’. Mentr e ti lascio,
o figlia, K. SI 3; Per questa bella mano, K. 612;
Rivolgete a lui lo sguardo, K. S84.

Eleanor Steber Sings Mozart. Eleanor Steber (so'
prano) with the Columbia Symphony Orchestra
conducted by Bruno Walter. M2" disc (*C'ML'
4694) $5.45.

CONTENTS: Der Schauspieldire\tor — Bester
jungling; Die Entfuhrung aus dem Serail — Traurig'
keit; Le ?{ozze di Figaro — Dove sono; Die Zauber'
flote — Ach, ich fuhl’s; Don Giovanni — In quali
eccessi ... mi tradi quest’ alma ingrata; Cosi fan
tutte — Per pieta ben mio perdona; Don Giovanni —
Non mi dir, bell’ idol mio.

It would be interesting to know the reasoning
behind the making of these two records. Aside from

the prospect of selling them, that is. Neither Miss
Steber nor Mr. London seem to have any idea of
how to sing Mozart. And yet, here is Bruno Walter,
one of the best of conductors, noted for his Mozart
readings, directing the orchestra! One is astonished
that he did not do more to have the performances
worthy of the music. Perhaps the fact that he did
not also implies that he was not permitted to make
them so.

George London, a bass, has no business (vocally)
singing Figaro or the Count Almaviva, for these
roles are for baritone. Neither is his temperament
suited to either character. The music lies a little too
high for his voice, and, as a result, the singing tends
to be monotonous and unmusical. Most successful,
and that in a wooden sort of way, is the vendetta
aria of Dr. Bartolo which, incidentally, is written
for bass. The three concert arias on the other side
are also trying to listen to; for here, too, he is well
beyond his depth. The tempi, in all instances, is
very slow, and it is hard for this reviewer to believe
the idea was Bruno Walter’s.

Miss Steber essays the arias of a group of char'
acters from several Mozart operas that would tax
the musical imagination and vocal equipment of the
greatest of sopranos. It is not so much that she is
unsuccessful — one wonders why she made the at'
tempt. Here again, one is amazed that Bruno Walter
could not have exercised some restraining influence.
There is, in addition, some slovenly orchestral
playing.

The recording in both instances is reasonably
good. No texts are supplied, the annotator merely
contenting himself with outlining the situation for
the aria and giving an English version of the words.

W.

CHORAL {■ft

Thompson: The Testament of Freedom. Male
Chorus of the Eastman School of Music and the
Eastman'Rochester Symphony Orchestra con'
ducted by Howard Hanson. One side, and
Hanson: (4) Songs from "Drum Taps.” Chorus
of the Eastman School of Music and the Eastman'
Rochester Symphony Orchestra conducted by
Howard Hanson, with David Meyers (baritone).
M2" disc (*ME'MG'40000) $5.45.

Though not included in the list of Olympian
Series recordings, this first volume of Mercury’s
American Music Series fujly possesses the remark'
able fidelity of the Olympian line, being recorded
with the same technical facilities. It is, indeed, one
of the finest discs Mercury has produced for the
hi'fi devotee, containing a stunning example of the

PAGE II

"THE WORLD'S RECORD SHOP"

Indicates LP 33 yj rpm.
0 indicates 45 rpm

OCTOBER

T he New R ecords

1953

impressive impact of a massive chorus and orchestra
performing music that contains more crescendos than
Tschaikovsky would ever dream of writing into a
single work.

Not being jingoistic, as one might suspect from
the title, Randall Thompson’s The Testament of
Freedom, a setting of four passages from the writings
of Thomas Jefferson, is actually more effective on a
linguistic level than is, for example, Ein Deutsches
Requiem when it is sung in English. Mr. Thompson’s
work manages to be impressive without being melo'
dramatically sensational and, from a technical stand'
point, is quite welhwrought.

Howard Hanson’s Songs from “ Drum Taps” ah
most defies musicological description. How would
one, for example, describe the aesthetic appeal of a
Concerto for Pneumatic Drill and Football Band?
Though without the subtlety of the aforementioned
hypothetical work, one must not deny it the attribute
of being, of its type, quite pure. C.

Bach: Cantata No. 146 (“Wir mussen durch viel
Trubsal”). (Sung in German). Anny Felber'
mayer (soprano); Erika Wien (alto); Hugo Meyer
Welfing (tenor); Norman Foster (bass); Choir
of the Bach Guild and the Vienna State Opera
Orchestra conducted by Felix Prohaska, with Kurt
Rapf (organ and cembalo). IT 2" disc (*BG'BG'
525) $5.95.

This is the first recording of one of Bach’s finest
cantatas. Cantata No. 146 “Wir mussen durch viel
Trubsal” is a large work, and from the elaborate
overture (based, incidentally, on the opening move'
ment of the D Minor Clavier Concerto) to the
resounding final chorale, interest and musical inspira'
tion never flag.

The composition is thought to have been written
sometime after 1730, while Bach was in Leipzig. The
facts pointing to this time of composition are rather
cute and are outlined in some detail in the jacket
notes. The cantata was written for the third Sunday
after Easter and is a joyous work throughout despite
its somewhat forbidding title, the English version
of which is “ Through bitter tribulation we enter into
God’s Kingdom ”.

The soloists range from fair to very good. Miss
Wien, the alto has a bright pleasing voice that she
uses with understanding and a sense of fitness. Her
aria, Ich will nach dem Himmel zu, is delivered with
clarity and style. The ever welcome and really
gorgeous soprano of Anny Felbermeyer is heard in
a lengthy recitative and the aria Ich sde meine
Zdhren. Both sections take on an added glow
through the magic of her silvery vocalism. Hugo
Welfing, a somewhat wooly'voiced tenor and basso
Foster, while good singers, are a bit of a let down
after the superb Felbermeyer.

Felix Prohaska conducts with a sense of propriety
born of many years of experience. The spirit he
breathes into the performance is one of a sort of
classic joy that is eminently proper. His chorus
sings accurately and spiritedly — one could ask no
more.

Vanguard has supplied crystal clear recording,
texts and notes. W.

Erna Berger Sings. Erna Berger (soprano) accom'

panied by Michael Raucheisen (piano). 1 ' 1 2 "

disc (*D'DL'9666) $5.85.

CONTENTS: Wir wandelten, Voruber, Mein
wundes Herz verlangt, Der Tod das ist die \uhle
?\[acht, Lerchengesang, Immer leiser wird mein
Schlummer, An eine Aolsharf e , Wiegenlied
(Brahms); (6) Songs to poems by Clemens Bren'
tano, An die T^acht, Ich wollt’ein Strausslein binden,
Sausle liebe myrte, Amor, Lied der Frauen, A Is mir
dein Lied er\lang (R. Strauss).

One has heard quite a lot, via blurbs on record
jackets, concerning Erna Berger’s outstanding gifts
as a lieder singer but in all cases the discs were so
poorly recorded that it was possible to form only the
vaguest opinions. Now, with this new Decca record'
ing. Miss Berger more than sustains the exalted
reputation claimed for her in this field.

The eight songs of Brahms, covering a period of
about twenty'six years, have been selected wisely,
for they offer no drastic contrasts and make an
excellent group both for auditor and singer. There
are two familiar songs, Immer leiser wird mein
Schlummer and the classic Wiegenlied — the remain'
ing songs, while not altogether unfamiliar, are in-
frequently heard.

The Strauss songs are settings of poems by Clemens
Brentano (much favored in some quarters) and are
characteristic of the somewhat overripe late romanti'
cism the composer affected. They date from 1919.

Miss Berger has never sounded better than she
does on this disc. All the remarkable expressive
qualities of her unique voice are brought to play on
the music with unforgettable effect. Her voice, the
light, clear lyric soprano that record collectors and
concerts goers the world over have come to know
and admire is as fresh and youthful today as it was
twenty years ago.

Decca, while supplying copious notes, has neglected
to give the texts, an unforgivable omission insofar
as this corner is concerned. Also, two of the Brahms
songs are marred by tape'slip that gives the piano
accompaniment a distressing “wow” — this, too, is
inexcusable. Otherwise the recording is good, espe'
dally of the voice. W.

* Indicates LP 88 ft rpm.
0 Indicate* 45 rpcn

H. ROYER SMITH COMPANY

PAGE 1 7

OCTOBER

1953

The New Records

A Song Recital Irma Kolassi (mezzo'soprano) ac'
companied by Jacqueline Bonneau (piano). 1-10"
disc (*L'LS'568) $4.95.

CONTENTS: (5) Melodies populaires grecques
(Ravel); (2) Chansons populaires grecques (Trad.);
Automne, Op. 18. No. 3 (Faure); Mandoline. Op.
58, No. 1 (Faure); Soir, Op. 83. No. 2 (Faure);
Le Vaincu (Aubert); Le Visage penche (Aubert).

This attractive disc serves to introduce Irma
Kolassi, a gifted young mezzo'soprano, in a program
of French songs, although one side of the record has
a strong Greek flavor.

The first side is devoted to the works of teacher
and pupil. Gabriel Faure is an acknowledged master
of the French song, and the three chosen by the
soloist are representative of his considerable art.
Automne. Mandoline and Soir are sufficiently fami'
liar to need little comment here — they are typically
Gallic in mood, a sort of musical realization of
Watteau's paintings. The pupil, Louis Aubert
(1877^ ) is represented by two songs that will,

in all probability, be new to most listeners, Le Vaincu
and Le Visage penche. Both songs struck this re'
viewer as being a bit on the pathological side, but
in all likelihood they require several hearings to
reveal all their meaning. Nonetheless, one was not
tempted to repeat them.

Side two contains Cinque melodies populaires
grecques as arranged by Maurice Ravel and arrange'
ments (by two other musicians) of two traditional
Greek songs. Here is music well off the beaten track
that stimulates the imagination and whets the
appetite.

Miss Kolassi sings the music in a fine, clear mezzo
that is warm and engaging. A good sense of style
and excellent method add to the listener’s enjoyment.
The accompaniments by Mile. Jacquline Bonneau
are models of taste and musicianship. Good record'
ing, somewhat flowery notes and no texts complete
the offering. W.

Spanish Music from the Court of Ferdinand and
Isabella. Soloists and instrumentalists of Pro Music
Antiqua. 1 ' 1 2" disc (*EMS'219) $5.95.

Banchieri: Festino. Primavera Singers of the Pro
Musica Antiqua, with Blanche Winogron (vir'
ginals). 1-12" disc (*ESO'ES'516) $5.95.

Handel: Cantata for Solo Voice (“Nell dolce dell’
oblio”). And Handel: Sonata in C for Recorder,
Harpsichord, Viola da Gamba. One side, and
Handel: Trio Sonata in F for Recorder, Violin,
Harpsichord, Viola da Gamba. And Handel:
Sonata in D minor for Recorder, Harpsichord,
Viola da Gamba. Soloists of the Pro Musica
Antiqua. M2" disc (*ESOES'515) $5.95.

The Pro Musica Antiqua, probably the finest per'
forming group for Medieval and Renaissance music,
offers now the fourth in their projected fortywolume

anthology for EMS records. This release of unde'
servedly neglected Spanish music fully maintains
their fine standards. (They could hardly do more!)

The Primavera Singers (a part of the Pro Musica
Antiqua) have given us the first recorded music of
Banchieri, and the first complete recorded madrigal'
comedy (a group of 16th century vocal forms —
madrigals, canzonettes, villanelles, etc. — having some
slight plot). Festino, which is designed to be sung
“on the evening of Fat Thursday before Supper,”
has interspersed throughout it virginals interludes
(not part of the original, but in keeping with the
spirit of the work, and adding to the impression of
authenticity). Had the Primavera Singers existed
and performed in the 16th century, they probably
would have been lauded for their excellence. There'
fore, this faithful performance at 300 years distance
from the music is, indeed, an artistic rarity.

The Pro Musica Antiqua’s recording of three
Handel works is as fine as the first two records we
have considered, and is to be, therefore, unquali'
fiedly recommended.

Music of Poland (Vol. II). (7) Folk Songs.

Mazowsze Choral Ensemble with orchestra. One
side, and Lutoslawski: Little Suite for Chamber
Orchestra. Chamber Orchestra of the Polish Radio
conducted by Jerzy Kolaczkowski. And Lutoslaw-
ski: (6) Children’s Songs. Janina Godlewska
(mezzo'soprano) with the Symphony Orchestra of
the Polish Radio conducted by Witold Lutoslaw'
ski. M2" disc (*VAN'VRS'6013) $5.95.

This LP disc will be of primary interest to those
of Polish origin. The first side contains seven Polish
folk songs and the second side contains a short or-
chestral suite and six songs for children; both the
suite and the music for the songs were composed by
the contemporary Polish musician Witold Lutoslaw'
ski. The six songs are based on poems by present'
day Polish writers

Love Songs for a Late Evening. Portia Nelson
(vocal) with the Norman Paris Trio. 1-12" disc
(*C'ML'4722) $5.54.

CONTENTS: Get Out of Town; My Ship; Once
in a Blue Moon; The Gentleman is a Dope; Come
Away with Me; Love for Sale; No Lover; If Love
Were All; Just Love; My Love Is a Wonder er; Who
Wants to Fall in Love ; One Life to Live.

Portia Nelson is the qintessence of sophistication.
Her presentation of a song is in the manner that
appeals to the coterie of cafe society that frequent
the supper clubs on the upper east side in New
York City. We mention this as a warning. You will
either think that Miss Nelson’s renditions are superb
or will stop the record before it is more than a
quarter finished. We have no opinion because night
life stopped for us well before midnight many years
ago.

PAGE 13

"THE WORLD'S RECORD SHOP"

• indicate! LP 88*,$ n>n»
0 indicate* 45 rptr

OCTOBER

T he Nm Records

1953

Anna Russell Sings! Again? Anna Russell (come'
dienne) with piano accompaniments. M2" disc
(*C'ML'4733) $5.45.

CONTENTS: The Ring of the Nibelungs (An
Analysis); Introduction to the Concert (By a
Women’s Club President); How to Write Tour Own
Gilbert and Sullivan Opera.

Since the release of her first record, Anna Russell
Sings 1 (TNR Dec. ’52), there has been an insistent
demand for more recording of the repertoire of this
British comedienne; and when Miss Russell gave
another concert at Town Hall (April 23, 1953) for
the benefit of the Third Street Music School Settle'
ment, Columbia recorded it and has issued the
present disc.

Anyone who liked Miss Russell’s first disc or who
saw her do the bit imitating a Women’s Club Presi'
dent on Ed Sullivan’s “Toast of the Town’’ TV
show will want this record. If you do not know Miss
Russell but enjoy hearing fun poked at musical snobs,
we suggest you’ll split your sides at this one.

Chopin Recital. Dinu Lipatti (piano). 1'12" disc
(*C'ML'4721) $5.45.

CONTENTS: Sonata No. 3 in B minor, Op. 58;
Barcarolle in F 'sharp minor, Op. 60; Nocturne No. 8
in D'flat, Op. 27, No. 2; Mazurka No. 32 in C'
sharp minor, Op. 50, No. 3.

Since Lipatti’s untimely death in 1950 there has
sprung up in America what might be called a Lipatti
Cult. Members of this group are more than anxious
to obtain all of the recordings made by this truly
great artist. As far as they are concerned it is only
necessary to mention that another Lipatti record is
available. Those music lovers who have not made
his acquaintance might do so very pleasantly by
listening to the present release.

Early English Keyboard Music. Robert Donington
(viola da gamba); Geraint Jones (organ); Thur'
ston Dart (harpsichord); Elizabeth Goble (harp'
sichord and virginals). 2' 12" discs in album (*L'
LL'712/3) $11.90.

CONTENTS: Variations on the Carman s Whistle,
The Earl of Salisbury's Pavan and Galliard, Pavana
Bray and Galliarda Bray, Praeludium (Byrd); WaU
singham Variations, The Kings Hunt, Queen Eliza'
beth’s Pavan, In Nomine (Bull); Pavana Dolorosa
and Galliarda Dolorosa (Philips); The Lord’s
Masque, New Noddy (Anon.); Pavan in A minor
(Tomkins); Fantasy, A Fancy in A re, Lord Salis'
bury’s Pavan and Galliard (Gibbons); W oodycoc\
Variations, Masque (Farnaby).

All of the music on these discs dates from the
first quarter of the 17th century, a short period
when the best of early English music came into

being. The following composers are represented:
William Byrd, Giles Farnaby, Peter Philips, John
Bull and Thomas Tomkins. London has gone to the
trouble to have this music recorded on the ancient
instruments for which it was written, and thus these
recordings are definitely in the proper tradition. As
artists were secured who have devoted much time
and study to the music of the period, we are assured
of correct performances in spirit as well as technique.

We wish that we could give to these recordings
the space that they deserve, but alas we could not.
We hope that those interested will investigate these
discs; and if they do, they will find the copious notes
supplied by Robert Donington of supreme value.

Casadesus Plays Scarlatti and Rameau. Robert

Casadesus (piano). M2" disc (*C'ML'4695)

$5.45.

CONTENTS: Sonata in E, L. 23; Sonata in A,
L. 395; Sonata in D, L. 411 ; Sonata in G, L. 387;
Sonata in B minor, L. 449; Sonata in D, L. 463
(Scarlatti). Gavotte; Le rappel des oiseaux; Les
sauvages; Les niais de sologne (Rameau).

Casadesus is noted for his sympathy for and
superb performance of such music as will be found
on the present LP disc. If you are interested in
Scarlatti and Rameau, you will find this record very
much to your liking, we are sure. Columbia has
supplied excellent piano reproduction.

Villa-Lobos: Cirandas (Cycle of 16 Piano Pieces).

Joseph Battista (piano). M2" disc (*MGM'E'

3020) $4.85

Villa'Lobos over the years has given much time
to the study of the folk music of his native Brazil.
He has traveled from one end of his country to the
other, and it is said that he has collected and edited
thousands of folk melodies. Cirandas is a suite of
sixteen piano pieces, each based on a little folk song
or dance; most of them are the sort of melodies that
children sing and dance to when they are at play.
This is not the type of music that will appeal to
everyone, but those interested will find it highly
attractive.

We are very fortunate to have the American
pianist, Joseph Battista, for the recording artist in
this instance. Battista has known the composer for
many years, and in the summer of 1952 he visited
him while on a concert tour of South America. They
discussed Cirandas, and Battista began then to pre'
pare himself to make a recording of the work. In
January of the present year Villa'Lobos came to
New York and further discussions took place with
the composer giving the pianist many valued sug'
gestions as to interpretation. The present recording
was made within the following week.

* Indicate* LP rpm.

^ indicate* 4* rpm.

H. ROYER SMITH COMPANY

PAGE H

OCTOBER

The New Records

1953

VIOLONCELLO

Bach: Suite No. 3 in C for Violoncello. One side,
and Bach: Suite No. 6 in D for Violoncello.

Janos Starker (violoncello). M2" disc (*PE'
SPL'543) $5.95.

Bartok: Rhapsody No. 1 for Violoncello and Piano.
And Weiner: Lakodalmas (Hungarian Wedding
Dance). One side, and Kodaly: Sonata for
Violoncello and Piano, Op. 4. Janos Starker
(violoncello) and Otto Herz (piano). M2" disc
(^PROGRAM EXLP'702) $5.95.

A musicological friend of ours has referred to
Starker as the 3 'dimensional 'cellist and, taking that
statement in the most complimentary sense, it is
indicative of the kind of playing that characterizes
him. Aided, partially, by the extraordinary fidelity
of these recordings, Starker's tone, for sheer unin'
hibited ruggedness, is today's peerless; but, at the
same time, it is checked by a fine sense of formal
cohesion, which, though it does not produce the
niceties characteristic of, say, Fournier, does not
need to, considering the bold healthiness of Starker’s
style.

His attack on the Bach Suites is vital and remark'
ably authentic, leaving Casal’s precious noises to the
musical sideshow of the earlier days of the phono'
graph. And his performance of the three Hungarian
works, though not explicitly authentic, certainly does
not lack the drive which that sort of music should
have. The Bartok Rhapsody for * Cello and Piano
is actually Bartok’s own transcription of his work
for violin and piano, dedicated to Joseph Szigeti and
performed by that artist (*C'ML'2213) with more
understanding than Starker, though many should
prefer the work played on the ’cello. The Kodaly
Sonata should need no explanation or introduction
to those 'cello devotees who have Starker's fabulous
recording of Kodaly’s Sonata for the unaccompanied
instrument (*PE'SPL'510). This performance is a
fitting companion to the first. C.

ORGAN

Walther: Meinen Jesum lass’ ich nicht. And
Walther: Jesu meine Freude. One side, and
Bohm: Ach wie nichtig, ach wie fliichtig. And
Bohm: Auf meinen lieben Gott. And Bohm:
Herr Jesu Christ, dich zu uns wend. Finn
Videro, playing the organ at Jaegersborg, Den'
mark. M2" disc (*HS'HSL'3066) $5.95.

On this, his second LP disc for Haydn Society,
the eminent Danish organist Finn Videro (pro'
nounced (Vf'dair'uh) has recorded chorale varia'
tions by two "contemporaries” of Johann Sebastian

Bach, Johann Gottfried Walther (1684'1748) and
Georg Bohm (166M733).

Walther hailed from Erfurt where he received
his early musical training from a cousin of Sebastian
Bach’s, Johann Bernhard Bach. He later became an
organist at Weimar from 1707 until his death in
1748. His style is that of the South German school;
but the influence of J. S. Bach, who also was in
Weimar from 1708 until 1717, is quite evident, for
the two were close friends. Much of Walther’s work
has been lost, but these chorale variations, published
in 1713 (by his brother'indaw) are to be numbered
among his finest and most typical compositions. They
are, indeed, skillful and make rewarding listening.

Georg Bohm enjoyed, in his day, the highest of
reputations, his keyboard music being singled out
for special praise. It is characterized by strong use
of ornaments and figuration suggesting the influence
of French music. It is intensely interesting, what
with its strange harmonies and strong emotional
content.

Mr. Videro, known favorably in this country by
his many recordings for HMV and the previous
Haydn Society disc (devoted to J. S. Bach) is an
acknowledged master in this field and his perform'
ances are impeccable. The organ used for this
recording is a modern one, built in 1944, but is
baroque in design and sound. It is equipped with
tracker action, slider chests and mechanical registra'
tion. It has a particularly pure tone, never muddy
nor overly massive. The specifications of the instru'
ment as well as the registration used for the individ'
ual pieces are given in the jacket notes.

The recording is a superb technical job (as was
its predecessor) and can be recommended highly
from every angle. W.

DICTION

Benet: John Brown’s Body. Tyrone Power, Judith
Anderson and Raymond Massey, with chorus
directed by Richard White. 2' 12" discs in album
(*C'SL'181) $12.11.

The reading of Stephen Vincent Benet’s novel'
length poem, John Brown s Body, by Tyrone Power,
Judith Anderson and Raymond Massey has been a
great success in the theatre since its first performance
in New York last February. Such a performance
makes ideal material for a recording — it needs no
scenery, costumes nor properties and thus those who
listen at home to their phonographs get practically
everything that those who have paid for expensive
seats in the theatre. Also they may have repeat per'
formances at their convenience without additional
cost. It would seem that the present recording is
an excellent value for those who enjoy this sort of
entertainment.

PAGE 15

’THE WORLD'S RECORD SHOP"

Indicates LP 88 ^ rpm
0 Indicate* 45 rpi r.

OCTOBER

The New R ecords

1953

Shakespeare: Macbeth (complete). The Old Vic
Company. 8-7" dicsc in box (0V-WDM-6O1O)
$9.75. 2-12" discs in box (*V-LM-6010) $11.44.

DRAMATIS PERSONAE

Macbeth Alec Guinness

Lady Macbeth Pamela Brown

Banquo Andrew Cruickshank

Macduff Robin Bailey

Lady Macduff Rachel Gurney

Duncan John Bushelle

This month a fine performance of Macbeth by
the famous Old Vic Company of London is added
to the ever-growing list of complete recorded ver-
sions of outstanding plays both old and new. The
present cast is an excellent one, headed by Alec
Guinness in the title role and Pamela Brown as
Lady Macbeth. The recording, which was made in
England, has been most successfully achieved and
special credit must be given to the HMV engineers
for the most realistic atmosphere which attends this
outstanding performance. We do not doubt that
various groups of players, both amateur and pro-
fessional, who purpose to put on a production of
Macbeth, will find this recording of inestimable value.
Also, it will bring great joy to those of us who like
to sit quietly in their easy chairs and hear the lines
of the great bard spoken effectively and with just
the right touch of the dramatic.

MISCELLANEOUS

Gypsy Music (Vol. II). Antal Kocze and his Band.
1-10" disc (*WEST-WL-3004) $3.95.
CONTENTS: Roumanian Dance ; Hungarian
Song; Dances from Transylvania; Poszth Melody.
Gypsy Music (Vol. III). Antal Kosze and his Band.

1-10" disc (*WEST-WL-3002) $3.95.
CONTENTS: Dances from Hungary; Gypsy
Song; Czardas; Gypsy Song; Hungarian Dance.
Gypsy Fantasies. Michel and his Gypsy Ensemble.

1-12" disc (*WCFM-LP-16) $5.95.
CONTENTS: (4) Hungarian Fantasies; (4)
Roumanian Fantasies.

This month we have two more LP discs contain-
ing Gypsy music played by the famous Antal Kocse
and his Band of the Monseigneur Bar in Vienna.
Added to these is the first recordings of Michel and
his Gypsy Ensemble which has been famous in
Washington, D. C., for many years. At the present
time Michel is playing in his own restaurant on
Vermont Avenue. We rather believe that those
interested in Gypsy melodies will find that both
Antal and Michel hold closely to the true tradition
of this unique music.

BOOKS OF MUSICAL INTEREST

The Worlds Encyclopaedia of Recorded
Music . By Francis F. Clough and G. J.
Cuming. 890 pp. Sidgwick and Jackson,
Ltd. (London). Price $17.50.

The Kfeiv Catalogue of Historical Records
1 898' 1 908/09. Compiled by Robert Bauer.
494 pp. Published in England. For sale in
U. S. A. by H. Royer Smith Co. (PhiladeL
phia). Price $7.25.

The Gramophone Shop Encyclopedia of Re'
corded Music (Third Edition). Robert H.
Pveid, Supervising Editor, 639 pp. Crown
Publishers (New York). Price $2.95.

The Victor Boo\ of Operas. Revised and edited
by Louis Biancolli and Robert Bagar.
xxiv-f-596 pp. Illustrated. Simon and
Schuster (New York). Price $5.

Victor Boo\ of Concertos. By Abraham Veinus.
xxv + 450 pp. Simon and Schuster (New
York). Price $3.95*

Collectors* Guide to American Recordings
1895 '1925. By Julian Morton Moses.
Foreword by Giuseppe De Luca. 200 pp.
Published by the author. Price $3.75.

I Hear Tou Calling Me. By Lily McCormack.
201 pp. Illustrated. The Bruce Publishing
Co. (Milwaukee). Price $2.75.

Records: 1950 Edition. By David Hall, ix -f-
524 -f- xx pps. Alfred A. Knopf (New
York). Price $6.

NOTE: All the above books have been reviewed
in previous issues of The 7^ew Records. If your local
dealer does not stock them, orders addressed to H.
Royer Smith Co., Philadelphia 7, Pa., will be promptly
filled. The prices quoted include postage to any point
within U.S.A.

The first letters In the record number Indicate the manufacturer: AL— Allegro, BG— Bach Guild, C— Columbia, CE—Cetra,CH— Concert
Hall Society, CL — Capitol, CSM— Colosseum, CRS— Collector’s Record Shop, D— Decca, DL — Dial, ESO— Esoteric, FEST— Festival,
FOLK— Ethnic Folkways Library, GIOA— Gregorian Institute of America, HS — Hadyn Society, L — London Gramophone, LYR— Lyri-
chord, ME— Mercury, OC— Oceanic, OL— L’Oiseau Lyre, PE— Period, PH M— Philharmonia, PLM— Polymusic, REN— Renaissance, SOT—
Sounds of Our Times, ST R— Stradivari, UR— Urania, V— Victor, VAN— Vanguard, VX— Vox, and WEST— Westminster.

• Indicates LP 88% rpm.
^ Indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 16

The Nm R ecords

A BULLETIN FOR THOSE INTERESTED IN RECORDED MUSIC

Issued Monthly by

H. ROYER SMITH COMPANY

“The World's Record Shop ”

I OTH & WALNUT STREETS .... PHILADELPHIA 7, PA., U. S. A.

VOL 21, NO. 9 NOVEMBER, 1953 By mail to any address

I N 1951 COLUMBIA issued a Limited First
Edition set of records of the 1950 Casals
Festival, held at Prades, France; in 1952 Co'
lumbia issued a similar set of the 1951 Casals
Festival,- held that year at Perpignan. This
month Columbia has issued the third in the
series, this time of the 1952 Casals Festival
held at Prades. As before, these are not record'
ings of actual performances, but studio record'
ings of the artists who performed at the
Festival.

The present volume contains ten 12 'inch
LP’s in a handsome box, and each copy of the
Limited First Edition is individually numbered,
making these sets collector’s items to be treas'
ured for more than just the music thereon.
Packed with each numbered set is a post card
which, when mailed to Columbia Records, Inc.,
entitles the sender to an LP disc of other
Casal’s recordings without charge; this “bonus”
record is not available at any price, other than
to owners of the numbered Limited Edition
sets.

The publishers of this bulletin have secured
a few of these Limited Edition sets (*C'SL'
185), and if your local dealer cannot supply
you, orders sent direct to the publishers will be
promptly filled. The price: $65, postpaid ip
U. S. A.

The contents of this set are as follows:

Brahms: Quintet No. 2 in G, Op. 111 . Isaac Stern,
Alexander Schneider (violins); Milton Katims,
Milton Thomas (violas); Paul Tortelier (violon'
cello). One side, and Schumann: Quintet in E-
flat, Op. 44. Isaac Stern, Alexander Schneider
(violins); Milton Thomas (viola); Paul Tortelier
(violoncello); Myra Hess (piano).

Brahms: Quartet No. 3 in C minor, Op. 60. Joseph
Szigeti (violin); Milton Katims (viola); Paul Tor'
telier (violoncello); Myra Hess (piano).

Brahms: Sextet No. 1 in B-flat, Op. 18. Isaac Stern,
Alexander Schneider (violins); Milton Katims,
Milton Thomas (violas); Pablo Casals, Madeline
Foley (violoncellos).

Schubert: Quintet in C, Op. 163. Isaac Stern, Alex'
ander Schneider (violins); Milton Katims (viola);
Pablo Casals, Paul Tortelier (violoncellos).

Schubert: Trio No. 1 in B-flat, Op. 99. Alexander
Schneider (violin); Pablo Casals (violoncello);
Eugene Istomin (piano).

Schubert: Trio No. 2 in E-flat, Op. 100. Alexander
Schneider (violin), Pablo Casals (violoncello);
Mieczyslaw Horszowski (piano).

Schubert: Sonata No. 5 in A, Op. 162 (“Duo").
Joseph Szigeti (violin) and Myra Hess (piano).
One side, and Schubert: Die schone Mullerin,
Op. 160 — Variations on “Trock'ne Blumen." John
Wummer (flute) and Leopold Mannes (piano).

Schumann: (5) Stiicke im Volkston, Op. 102.

Pablo Casals (violoncello) and Leopold Mannes
(piano). One side, and Schumann: Trio No. 1
in D minor, Op. 63. Alexander Schneider (vio'
lin); Pablo Casals (violoncello); Mieczyslaw Hors'
zowski (piano).

Brahms: Trio No. 1 in B, Op. 8. Isaac Stern (vio*
lin); Pablo Casals (violoncello); Myra Hess
(piano)

Brahms: Trio No. 2 in C, Op. 87. Joseph Szigeti
(violin); Pablo Casals (violoncello); Myra Hess
(piano).

BACK COPIES

We are continually receiving requests for
back copies of The New Records. Most of
the issues published during the last twenty
years are available. The price is 10c each. A
file of all of the available issues (at least 140
copies) is $5. These prices are postpaid within
U.S.A.

r~

NOTE: Those persons interested in recent
recordings only may secure all of the issues of
the last three years beginning November 1950
(36 copies) at the special price of $2 (postpaid
within U. S. A.).

NOVEMBER

T he N» "Records

1953

Dvorak: The Jacobin, Op. 84 — Suite. Symphony
Orchestra of Radio Berlin conducted by Kurt
Kretschmar. One side, and Dvorak: Carnaval
Overture, Op. 92. Linz Bruckner Symphony
Orchestra conducted by Georg Ludwig Jochum.
And Smetana: Libussa — Overture. Symphony Or'
chestra of Radio Berlin conducted by Arthur
Rother. M2" disc (*UR'URLP'7094) $5.95.
Dvorak: Symphony No. 5 in E minor, Op. 95
(“From the New World”). Vienna State Phil'
harmonia conducted by Jascha Horenstein. M2"
disc (*VX'PL'7590) $5.95.

The Urania disc provides us with first recordings
of two works by the great Czech composers, Dvorak
and Smetana. Dvorak's Jacobin Suite is drawn from
his opera, The Jacobin, a work with an undistim
guished libretto, but a work containing much gay,
humorous, melodious music. Judging from the ex'
cerpts woven together to form the suite, we would
imagine most opera audiences enjoying this work
quite as much as the Puccini favorites, even on first
hearing (we refer to the music; the story and staging
may be another matter entirely). The excellent Radio
Berlin Orchestra plays this suite splendidly. Smetana's
Libussa Overture here receives its first and what may
well be its final recording. If it has any merit, other
than being innocuous, it eluded us completely, despite
the obviously good performance. The familiar Car'
naval Overture stands out as a masterpiece by com'
parison with Libussa; Dvorak's work is played with
spirit and all three works are well reproduced.

There have been many recordings lately of the
“New World,” including three last year and one
this year, which were worth considerable discussion
in these columns. Rather than compare the present
disc with any others, including our former favorites,
Ormandy and Kubelik, and the excellent Stokowski
and Szell discs, we would rather discuss this man
Horenstein. His recording of the Beethoven “Eroica”
was much admired last month, and it is the same
quality of dramatic interpretation which he brought
to that work which makes the present “New World”
recording such an invigorating listening experience.
Horenstein does not approach this score from the
traditional angle. He has studied it carefully, sought
its content and meaning, and poured this feeling into
a reading which is vital, dynamic and highly con'
vincing. Comparing what Horenstein finds in the
fourth movement (a glorious and thrilling piece of
music at any time) with what others find in it is
quite a revelation. We must admire this man tremen'
dously and admit that his rich interpretive genius
has provided us with musical moments both refresh'
ing and exciting. The reproduction of this disc is
also exceptional. The jacket claims the orchestra is
the Vienna State Philharmonia, the record labels say
it is the Vienna Symphony; whichever it may be,
they play beautifully. S.

Beethoven: Symphony No. 5 in C minor, Op. 67.
One side, and Beethoven: Egmont, Op. 85 —
Overture. And Beethoven: Coriolan Overture
in C minor, Op. 62. And Beethoven: Leonore
Overture No. 3 in C, Op. 72a. Minneapolis Sym'
phony Orchestra conducted by Antal Dorati. M2"
disc (*ME'MG'50017) $5.95.

Beethoven: Symphony No. 7 in A, Op. 92. Berlin
Philharmonic Orchestra conducted by Eugen
Jochum. M2" disc (*D'DL'9690) $5.85.
Beethoven: Symphony No. 7 in A, Op. 92. Detroit
Symphony Orchestra conducted by Paul Paray.
M2" disc (*ME'MG' 50022) $5.95.

While each of these discs represent the umpteenth
recording of these respective works, one cannot deny
the value of fine performances of such masterworks;
and a fine performance must be welcomed on its
own merits, regardless of what preceded it. There
are many folks who have thought that none of the
existing LP’s were just right for the Fifth. A goodly
number of these folks may well find the Dorati disc
to their taste, for he offers a well disciplined per'
formance, staying safely on traditional ground. There
are no eccentricities anywhere to mar the outlines
of this great symphony; and Dorati manages to get
a freshness and spirit into his reading, resulting in
a completely satisfying performance. The three great
overtures which occupy the reverse side of this disc
are cast in the same mold. One needs little more, for
Mercury has recorded these readings with their
own unique reproduction, than which there is none
finer today.

The pair of Sevenths in this brace of Beethoven
discs are both good, even if they are poles apart
in interpretation. Eugen Jochum and the Berlin Phil'
harmonic, like Dorati, adhere strongly to the ac'
cepted ways. Here is a Seventh that is an honest
statement of the music, and nothing more, well
played and recorded. Paul Paray, while no Philis'
tine in matters of musical tradition, is nonetheless an
original thinker and can usually be counted on to
provide something new in any score he tackles. He
does not disappoint in the Seventh, coming through
with a reading that bristles with animation and excite'
ment. We would say he is successful until he gets
to the end of the final movement, when we would
have appreciated a bit more control instead of the
bacchanalian revel he unleashes. For the fresh ap'
proach, he and Munch have much with which to
entertain you. For the traditional reading, Jochum
and several others have LP's to take care of the
trade who want that style; and for the readings of
a traditional nature but with a large dose of kinetic
energy, Toscanini and Bruno Walter are recom'
mended. We have always preferred Toscanini in
this work, and still do. The Seventh is a gay and
rhythmic work, and you have many different per'
formances of real merit from which to choose. For
an exciting reading and stunning reproduction, listen
to this new Paray disc. S.

• indicates LP SSI/S rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PA6E 2

NOVEMBER

The Ntfte; Records

1953

Handel: (12) Concerti Grossi, Op. 6. Bamberg
Symphony Orchestra conducted by Fritz Lehmann.
4'12" discs in album (*D'DX'126) $23.40.

Here we have the first complete recording of the
twelve concerti grossi of Handel's Opus 6 since the
Busch Chamber Players Columbia recording that
appeared five or six years ago. London has recorded
the first ten of them by the Boyd Neel Orchestra
but those music lovers who have been collecting
these have been awaiting the Nos. 11 and 12 for a
long time.

Now the question is what should one do who does
not have any recordings of these attractive little
Handel pieces. The Busch Players did a wonderful
job, and despite the age of the recordings their
versions should be given consideration. The London
recordings by Boyd Neel have received great praise
by the critics but most collectors are anxious for a
complete set and it is convenient to have them housed
in one album. The present set by the Bamberg
Symphony has the benefit of modern reproduction;
and the conductor, Fritz Lehmann, is well and
favorably known throughout Europe as an ideal
interpreter of Bach and Handel. Also the present
Decca album contains excellent notes in which each
of the twelve concerti are carefully analyzed.

We have the earlier Busch set in our private
library, and we are not going to make any change.
However, if we did not have it, we would certainly
give the present Decca album very careful con*
sideration.

Honegger: Symphonie Liturgique. Dresden Phil'
harmonic Orchestra conducted by Walter Stos'
chek. M2" disc ( *UR'URLP'7090) $5.95.

The accompanying program notes state: “A mod'
ern work cast in a classical mold, the Symphony
Ho. 3, Symphonie Liturgique, was completed in 1946
and performed in Zurich for the first time on August
17 of the same year by Charles Munch, to whom
the score was dedicated. Honegger describes his work
as a symphonic equivalent of three episodes in the
Requiem Mass: Dies lrae, De Profundis Clamavi,
and Dono Hobis Pacem.” Our first impression, on
hearing this work, is that it is a pity it was not
recorded by Charles Munch and the Boston Sym'
phony, for at least we would have had a more
polished and accurate statement of the score from
which to form an opinion. The present recording
suffers from an inadequate performance, as well as
none too excellent reproduction. The Dresden Phil'
harmonic is a more accomplished group than their
playing of this work would indicate. Walter Stoschek
is a new name among conductors to us. He seems
to have a fair knowledge of and feeling for the score.

The music is pretty much composed of modern
idioms and styles of a rather accepted and common
variety. While this work may be the symphonic
equivalent of three episodes in the Requiem Mass,
do not think that it would do as a substitute for a

standard choral rendition during an actual Mass.
Many would be the souls present who would scurry
out in horror, thinking evil forces had invaded the
sanctuary. If you can look at a modern painting,
which to most folks would depict some abstract geo'
metric design whether it were hanging right side up
or not, and if you could feel the emotion of a
mother being parted from her only child — then you
may be able to translate some of these sounds into
the realm of a Requiem Mass. We found it rather
difficult, and beyond that, we could not translate
the music into anything resembling a pleasant or
otherwise stimulating musical experience. S.

Mahler: Symphony No. 1 in D (“Titan"). The
Pittsburgh Symphony Orchestra conducted by
William Steinberg. M2" (*CL'P'8224) $5.70.
Gustav Mahler's first symphony, subsided “The
Titan" (for reasons that are not apparent to this
writer) receives its third major LP recording with
this release.

The performance is a disappointing one. When
compared with Dimitri Mitropoulos' vigorous exposi'
tion of the score with the Minneapolis Symphony
Orchestra (*C'ML'4251) this presentation seems
anemic and emerges as a series of disjointed episodes
that certainly does not do justice to Mahler.

The Pittsburgh Symphony Orchestra plays with
its accustomed accuracy; the brass section is partial'
larly fine, but there is a general feeling of boredom,
a lack of sympathy that deprives the score (never
really great music) of any chance to be convincing.

Capitol has recorded well, although at a some'
what lower volume level than one is accustomed to,
with the result that a certain “smallness" of sound
is added to the deficiencies of both score and inter'
pretation.

Prospective purchasers of the record are advised
then, to hear it first, for it cannot be judged unheard
on the basis of previous recordings by Capitol and
Steinberg; it just isn't in the same class as the per'
formances of the Mendelssohn “Scotch" Symphony
and the Beethoven “Pastoral". W.

Liszt: A Symphony to Dante’s "Divine Comedy”
(1856). Los Angeles Philharmonic Orchestra con'
ducted by Alfred Wallenstein. M2* disc (*D'
DL'9670) $5.85.

The composer's original intention was to write this
symphony in three movements corresponding to the
three portions of Dante's poem, Inferno, Purgatory,
and Paradise, the first two movements purely in-
strumental, the last with chorus. But Richard Wagner
persuaded him to alter his plan, saying that no
human being could express in music the joys of
Paradise. The “Dante Symphony" now concludes
with a Magnificat for womefi's voices in place of a
third movement. As the work now stands, the two
movements are titled Inferno and Purgatory; it takes
about three'quarters of an hour playing time.

In this first LP recording one could offer little but

PAGE 3

H. ROYER SMITH COMPANY

indicates LP SSI/S rpm.
0 Indicate* 45 rpm.

NOVEMBER

1953

1 he Records

praise for the fine performance which Alfred Wallen*
stein and the Los Angeles Philharmonic have
achieved. This well disciplined orchestra, assisted by
an excellent female chorus, has given obvious care
and preparation to the music, and it is played with
admirable finish and enthusiasm. The music itself is
generally interesting; it becomes a bit thin and lack*
ing in interest in the sustained softer passages, but
they do not dominate the work. There is much that
is typical of Liszt's tone poems and even some
familiar patterns from Les Preludes creep in at the
beginning of the work. We think it is a piece
worthy of hearing now and then, and one that will
appeal to many folks. The fine performance offered
here adds much to its appeal and Decca has supplied
superb reproduction. We were greatly impressed by
a hearing of this disc and recommend it heartily to
those who are seeking something different but cast
in familiar molds. S.

Dvorak: Symphony No. 2 in D minor, Op. 70.

Hamburg Radio Symphony Orchestra conducted

by Hans Schmidt*Isserstedt. 1*12" disc (*L*LL*
778) $5.95.

As most of us have learned by now, it is unreliable
to associate the number of a symphony with the
chronological order in which it was composed.
You would imagine, logically, that the second sym*
phony which a man wrote would be called his second
symphony when, as, and if it were published, at any
time during or after his life. In our narrow mind,
a second symphony is a second symphony. But pub*
lishers have different ideas. The first symphony they
publish is called the first symphony even if it hap*
pens to be the sixth that the man wrote. At least
that is the way it used to be. Thus we have the
inference that the present work is an early effort
of the Czech master, yet it is his sixth or seventh in
order of composition. We say sixth or seventh,
because there is considerable confusion over the
numbering. The annotator for London says it is
seventh, the annotator for the Victor HMV disc of
this work says it is the sixth, and that is about the
general level of agreement wherever you look. What*
ever the number, let it be known that this is not
only a fully mature work, but one to which Dvorak
attached great importance, and one with which he
took great pains in composition. The influence of
Brahms was strong upon him at this time, and the
work is the best organized and strongest writing to
come from Dvorak's pen. Regardless of any Ger*
manic influence, this symphony remains strongly
individual and full of Bohemian flavor.

Of the several recordings now available of this
work, Kubelik and the Philharmonia Orchestra
(*V*LHMV*1029) and the present disc offer little
from which to choose. Kubelik is at his best in this
type of music, and his performance is a fine one.
Schmidt*Isserstedt supplies a goodly portion of the
inherent Bohemian flavor of this work, and also
manages to play it a bit more carefully. London's

reproduction must be admitted to be superior; it is,
in fact, a striking example of their best orchestral
reproduction, and one which will please hi*fi fans no
end, for well balanced and faithful orhcestral timbre.
We would recommend the new London disc of
Dvorak’s Second Symphony as a good performance,
fine recording, and as wonderful music. S.

Scriabin: Le Poeme d’Extase, Op. 54. One side,
and Scriabin: Prometheus, Op. 60. Philharmonic*
Symphony Orchestra of New York conducted by
Dimitri Mitropoulos. 1*12" disc (*C*ML*4731)
$5.45.

Poem of Ecstasy was recently released on a disc
coupling it with Loeffler’s A Pagan Poem (*CL*P*
8188). which we thought an interesting coupling
as well as a pair of good performances. Poem of
Ecstasy is now coupled with the same composer's
Poem of Fire (Prometheus). Both these works were
part of a projected cycle, beginning with The Divine
Poem, which aimed at combining music, color, word,
miming, and odor. Its theme was to be the rebirth
of man. The cycle was to conclude with a tone*
poem entitled M ysterium, but was never completed.
The two works on the present disc are original
and ambitious works from Scriabin’s later period.
They stand well as music alone, without benefit of
the other props and trappings of color, miming, and
the like.

The Poem of Ecstasy is divided into three sections
described as (1) the composer’s soul in the orgy of
love, (2) the realization of a fantastical dream, (3)
the glory of his own art. The Poem of Fire depicts
martkind as existing in barbarism until the coming of
Prometheus whose gift of fire awakened good men
to creative activity and lesser men to more evil
purpose. The music describes the struggle between
these two elements with the good emerging trium*
phant. The hero of the work is, of course, Prome*
theus, the Titan who stole fire from heaven and
gave it to mortals. The story is not a bad idea,
and Scriabin’s music is a provocative piece of writing.

Dimitri Mitropoulos and the New York Philhar*
monic play the music with magnificent breadth and
scope; there is a quality of brilliance and rightness
about these performances which make them convinc*
ing and which also clarify the music and present
it in a way that promotes your enjoyment of it.
Columbia has supplied reproduction of exceptional
range and power, which makes this an outstanding
disc. S.

Copland: Symphony No. 3. Minneapolis Symphony
Orchestra conducted by Antal Dorati. 1*12" disc
(*ME*MG*50018) $5.95.

Antal Dorati and the Minneapolis Symphony and
Mercury have made a most distinguished contribution
to the recorded music of American composers with
this release. Copland’s Symphony "Ho. 3 was com*
missioned by the Koussevitzky Music Foundation and
is considered one of the finest works to emerge from

* indicates LP 331/3 rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 4

NOVEMBER

1953

The Nm Records

a long line of scores which this notable Foundation
has commissioned. Copland worked on the score
for two years, beginning it just after completion of
Appalachian Spring. The symphony is pure and
abstract music with no program intended or implied.
The second and fourth movements partake a bit of
the song and dance idiom familiar to us in the
composer’s stage and film works. Although the un*
relenting rhythmic intensity (even in the slow
episodes), the harmonic flavor and some of the
themes are unmistakably suggestive of American
hymn and folksong, Copland stated in forthright
fashion that, "It contains no folk or popular
material . . . Any reference to jazz or folk material
in this work is purely unconscious."

Mercury’s program notes are full and informative,
and include a running commentary on the symphony
contributed by the composer. There is much of
interest in the work, and it is all from a real musical
standpoint, there being no story or program. We
found this music attractive because it is compelling
and sincere. It could hardly be called pretty or
beautiful in the romantic sense; rather it is engaging
because of the composer’s skill and because of its
American idiom. If you have liked previous Copland
scores, this one will prove just as enjoyable, although
it is on a higher plane than his more popular works.
Dorati makes one of his most commendable contribu'
tions to Mercury’s fine Olympian Series with this
reading of the Copland Third Symphony. Nothing
but praise could be offered for such a performance,
in which the Minneapolis Orchestra sounds first rate
every minute. The reproduction is, as always in this
series, just superb. S.

Ravel: Vaises nobles et sentimentales. One side,
and Ravel: Le Tombeau de Couperin. L’Orchestre
de la Suisse Romande conducted by Ernest Anser'
met. M2" disc (*L'LL'79 5) $5.95.

Ravel Selections. L’Orchestre Radio'Symphonique
de Paris conducted by Rene Leibowitz. IT 2" disc
(*VX'PL'81 50) $5.95.

CONTENTS: Bolero; La Valse; Rapsodie Espag'
nole; Alborada del Gracioso; Pavane pour une in *
fante defunte.

No performance of music could have more refine'
ment and subtlety than when Ansermet performs
music of Ravel; and these qualities are produced
honestly and without benefit of any superficial tricks
or conductorial mannerisms. There is a purity and
logic to this pair of recordings that stamp it unmis'
takably as the work of Ansermet, a conductor for
whom most of us have the greatest admiration. There
are other recordings of each of these works, but no
one exceeds Ansermet for sheer beauty in his reading
of the music. Vaises nobles et sentimentales emerges
in the most ingratiating way we have ever heard,
and we imagine Ravel himself would give this read'
ing warm approval. Fine London reproduction makes
this disc an outstanding one in every respect, notably

in the matter of fidelity in recording soft effects —
for once nothing smashing nor earth shaking — just
beautiful orchestral tone at a moderate level.

Vox’s disc of Ravel music offers one hour of music
comprising the composer’s most popular orchestral
works. They label it as "Ultra High Fidelity," and
it is that indeed, a fine example of recording orches'
tral fortissimos at a high volume level with extreme
clarity. Rene Leibowitz proves himself a masterly
exponent of the flashy and brilliant side of Ravel’s
scores, with performances of Bolero and La Valse
which are exceptionally fine. His tempo for Bolero
is the correct one — slow and steady, and he does
not race through La Valse. The Charles Munch
reading of Bolero has always been the best in our
opinion; Leibowitz comes mighty close to Miinch,
and enjoys even more revealing reproduction. Both
Miinch and Ansermet have recorded these various
Ravel scores, and the choice among the three is no
easy matter. One can get the best grouping on the
Vox, what with five selections on the one disc, and
be assured of worthy performances. We therefore
recommend this disc, unless you wish specific works
by either Ansermet or Miinch. S.

Honegger: Symphony No. 5. One side, and Roussel:
Bacchus et Ariane (Ballet Suite No. 2). And
Ravel: Pavane pour une Infante defunte. Boston
Symphony Orchestra conducted by Charles Miinch.
4'7" discs in box (0V'WDMT741) $5.14. M2"
disc (*V'LMT741) $5.72.

Schonberg: Verklarte Nacht. One side, and
Vaughan Williams: Fantasia on a Theme by
Tallis. Leopold Stokowski and his Symphony
Orchestra. 4'7" discs in box (0V'WDMT739)
$5.14. M2" disc (*V'LMT739) $5.72.

The two handsome records (and the adjective
is used advisedly) listed in the above heading are
further identified on their respective jackets as being
"From the Connoisseur Catalog," a harmless bit of
snobbery that has more than usual aptness. Two of
the finest conductors, both virtuosos in the fullest
sense of the word, working out on music that might
almost have been written with them in mind, deserve
a little extra attention.

First let us consider Charles Munch in the three
modern French works. The Honegger Symphony
was written in 1949 for the Koussevitzky Music
Foundation and has been introduced in both Europe
and America by Mr. Munch and the Boston Sym'
phony Orchestra. The score is a colorful one, and
while the idiom is not one the writer finds sym'
pathetic, nonetheless there is more justification for
the dissonance here than one usually finds in con'
temporary music. The Roussel and Ravel sound
almost classic by comparison, the former bearing a
startling resemblance, in certain passages, to Dukas'
L’Apprenti sorcier.

Stokowski and his orchestra have a field day on
the other disc. The Fantasia receives particularly
lush treatment and comes through very well, so

PAGE 5

H. ROYER SMITH COMPANY

• indicates LP 33 1/3 rpm.
0 indicates 45 rpm.

NOVEMBER

The N ew R ecords

1953

well in fact that it may be considered the best of
the three recorded versions thus far. Stokowski
infuses an almost erotic atmosphere into the score
which one is sure neither Tallis nor Vaughan WiL
liams intended; but the effect, for one listener, was
little short of superb. The Ver\larte K[acht is played
here in the 1943 version for full string orchestra (it
was originally written in 1899 as a string sextet).
The work, as can be readily imagined, is played to
the hilt.

The recording is about the best to be heard on
records, the Boston Orchestra one being more spec'
tacular because of the full scoring; but the string
tone evoked by Stokowski is still something to con'
jecture with, and RCA’s engineers do just that.
While not for everyone, (this reviewer likes only
the Vaughan Williams unreservedly) these discs
should be investigated by all with a flair for the
unusual. W.

Saint-Saens: Suite Algerienne, Op. 60. L’Orchestre
National de la Radiodiffusion Frangaise conducted
by Louis Fourestier. One side, and Massenet: Les
Erinnyes. L’Orchestre de l’Opera Paris conducted
by Andre Cluytens. 1-1 2" disc (*VX'PL'8100)
$5.95.

Faure: Pelleas et Melisande, Op. 80. One side, and
Dukas: La Peri — Poeme danse. L’Orchestre de
l’Association des Concerts Colonne conducted by
Gorge Sebastian. 1-12" disc (*UR'URLP'7097)
$5.95

Chabrier: Suite Pastorale. One side, and Bizet:
Petite Suite, Op. 22 (“Jeux d’Enfants”). And
Bizet: L’Arlesienne Suite No. 2 — Farandole.
And Bizet: La Jolie Fille de Perth — Danse
bohemienne. Royal Opera House Orchestra, Co'
vent Garden, conducted by Warwick Braith waite.
1-1 2" disc (*MGM'E'3000) $4.85.

Three discs, six sides, and six French composers
represented, and in every case the work is a lesser
known but worthy one. To describe all this music
would take several columns; if you care to find out
about it, the program notes for all three discs are
lengthy and informative, and you will find them
interesting. Practically all of this music is on discs
for the first time, and all of it is presented here in
its best recorded performance if it has ever before
been committed to discs. Each of these records is a
good performance and a good recording. The disc of
outstanding reproduction among them is the Vox,
both sides of which are super hi'fi with a pleasant
tone, even in the strings. Massenet’s Les Erinnyes is
incidental music to the “tragedie antique” by Leconte
de Lisle, and contains what became the composer’s
most popular single piece, Elegie. Saint'Saens’ Suite
Algerienne is a descriptive piece on the same order
as Ibert’s Escales, and is thoroughly interesting music
which would go well in the concert hall once in a
while. It receives a brilliant reading by Fourestier,
who is notably effective in the Marche Militaire Fran'
gaise, making great music out of this often maligned

piece.

Urania's record has really fine reproduction too,
for in the Faure Pelleas et Melisande orchestral suite
we have some wonderful recording of soft orchestral
effects, solo instruments, and lovely string tone.
George Sebastian directs this music with a fine regard
for shading and nuance. He is just as successful in
Dukas’ La Peri with orchestral tuttis and fortissimo
effects. Of all the music on these six sides, Faure's is
probably the best in a classical sense, even if it is
not as entertaining as some of the other bonbons.

The MGM disc is another good value, being
loaded with light music that is nevertheless good
music. Edward Cole’s lengthy program notes will
give the reader plenty of food for thought regarding
what we loosely call “light” music. And his cham'
pioning of Bizet’s Children's Games reveals the
authentic realness of this music portraying child'
hood scenes. He also puts up quite a case for the
art of Chabrier. Warwick Braith waite performs this
music with polish and affection, and the recording
is one of the best yet from MGM. We have com'
pletely enjoyed each disc in this lot and recommend
them heartily to anyone interested. S.

Gould: Tap Dance Concerto. Rochester “Pops”
Orchestra conducted by Morton Gould, with Dan'
ny Daniels, dance soloist. One side, and Gould:
Family Album (Suite for Orchestra). Rochester
“Pops” Orchestra conducted by Morton Gould.
1-10" disc (*C'ML'2215) $4.

Morton Gould is quite a fellow; one does not
know what to expect next from this versatile and
thoroughly original musician. Here we have a con'
certo in classical form for tap dancer and orchestra,
complete with quite a long cadenza. We presume
that the cadenza is Danny Daniels'; we haven't
heard that Mr. Gould is proficient enough in tap
dancing to write in that medium. Mr. Gould states
that individual soloists may elaborate on his score to
suit themselves as long as they “keep the basic
rhythmic designs so that the work has an organized
and formal consistency.” Tap dancers please take
note — if you wish to try a few of your steps with
this record please don’t mess up the “basic rhythmic
designs.”

The Family Album is a nostalgic highly descrip'
tive work in five sections with the following titles:
Outing in the Park; Porch Swing on a Summer
Evening; Nickelodeon; Old Romance; Horseless
Carriage Galop. We found it mighty clever and
highly amusing — perhaps you will enjoy it too.
Rodgers — arr. Bennett: Victory at Sea (Suite from
the NBC Television Production). Members of
the NBC Symphony Orchestra conducted by
Robert Russell Bennett. 4'7" discs in box (0V'
WDM'1779) $5.14. M2" disc (*V'LM'1779)
$5.72.

Richard Rodgers of Oklahoma, South Pacific and
The King and I fame wrote the background music
for the 26 half'hour television programs which were

* Indicates LP 331/3 rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 6

NOVEMBER

T he ISiew Records 1953

so highly successful under the title Victory at Sea.
Robert Russell Bennett did the fascinating orchestra*
tions. From these thirteen hours of music Mr. Ben*
net arranged the present Suite. It is in nine stirring
movements: The Song of the High Seas; The Pacific
Boils Over; Guadalcanal; D*Day; Hard Work and
Horseplay; Theme of the Fast Carriers; Beneath the
Southern Cross; Mare Nostrum; Victory at Sea.
The titles of these movements give a good idea of
what is to be expected and Messrs. Rodgers and
Bennett never disappoint their listeners. Big moments
are painted with great sweeps of a broad brush,
while intimate little scenes are depicted with rare
subtlety. A half*hour of this may be too much for
some listeners; and there will be those to whom this
music will not appeal at all, but be that as it may,
one cannot help feeling that a great piece of descrip*
tive music has been written in the American idiom.

R.

Franck: Symphony in D minor. St. Louis Symphony
Orchestra conducted by Vladimir Golschmann.
1*12" disc (*CL*P*8221) $5.70.

Of the ten or twelve versions of this symphony
that are already available on LP records this one is
for those who like it well sugared. For us either
Monteux's recording for RCA Victor (*V*LM*
1065) or Ormandy's for Columbia (*C*ML*4024)
is plenty sweet enough.

Khachaturian: Gayne (Ballet Suite No. 1). One
side, and Khachaturian: Masquerade (Ballet
Suite). Indianapolis Symphony Orchestra con*
ducted by Fabien Sevitzky. 1*12" disc (*CL*P*
8223) $5.70.

Sevitzky turns in two very nice performances of
these popular ballet suites. We have not heard any
recordings of the Indianapolis Symphony for some
time — it sounds like a pretty fine organization on
this LP disc.

Tchaikovsky: Romeo and Juliet (Ouverture*Fan*
tasia). Bamberg Symphony Orchestra conducted
by Fritz Lehmann. One side, and Liszt: Hungaria
(Symphonic Poem No. 9). Bamberg Symphony
Orchestra conducted by Ferdinand Leitner. 1*10"
disc (*D*DL*7544) $3.85.

We don't know that this LP disc is such a good
bargain even at its modest price. The surfaces of
the copy we heard were not as quiet as we would
have liked them to be. We think the more expensive
recordings of these works are well worth the added
cost.

Tchaikovsky: Nutcracker Suite, Op. 71a. One side,
and Tchaikovsky: The Sleeping Beauty Ballet,

Op. 66 (excerpts). Philadelphia Orchestra con*
ducted by Eugene Ormandy. 1*12" disc (*C*ML*
4729) $5.45.

Here is an LP record with a winner on each side.
Ormandy is good at such music as these ever*
popular Tchaikovsky selections; and with the Phila*

delphians in top form we have a disc that should
make the best sellers list in a jiffy and stay there
for a while.

Brahms: Serenade in D, Op. 11. Little Orchestra
Society conducted by Thomas Scherman. 1*12"
disc (*D*DL*9651) $5.85.

There are other LP recordings of this famous
Brahms Serenade, but we rather think that most
music lovers will prefer the present version by the
Little Orchestra Society under the brilliant direction
of Thomas Scherman. If you are not familiar with
this charming selection in six delightful little move*
ments, here is an opportunity to make its acquain*
tance under most favorable circumstances.

Old English and French Music. Westminster Light
Orchestra conducted by Leslie Bridgewater. 1*12
disc ( *WEST*WL*4007 ) $4.95.

CONTENTS: (3) French Dances (Anon.);
Plaisir d’ Amour (Martini — arr. Saunders); Tam*
bourin (Leclair); Le Malade Imaginaire — excerpts
(Couperin— arr. Bridgewater) ; Overture (Boyce);
A llemande, Minuet and Bouree (Jones); Courtly
M asqueing Airs (Lawes); Gigue (Purcell).

Music Under the Stars. Popular Orchestral Favorites
played by prominent European orchestras. 1*12"
disc (*UR*URLP*7096) $5.95.

CONTENTS: Espana (Chabrier); (2) Horwegian
Dances (Grieg); Die Fledermaus— Overture
(Strauss); L’Oiseau de Feu — Infernal Dance (Stra*
vinsky); Danse Macabre, Op. 40 (Saint*Saens) ;
The Red Poppy— Waltz (Gliere); Hungarian Rhap *
sody Ho. 1 (Liszt); The Comedians, Op. 26 —
Gallop (Kabalevsky).

These two LP discs contain music that is easy to
listen to — the first presents music of another age
delightfully played under the brilliant direction of
Leslie Bridgewater and the second offers favorite
orchestral selections that are often heard on present*
day programs. Both records were made to be en*
joyed, and as such we recommend them.

Haydn: Divertimento in F (“Feldparthie"). One
side, and Haydn: March for the Prince of Wales.
And Haydn: London Trio No. 4 in C. And
Haydn: Grenadier March. London Baroque En*
semble conducted by Karl Haas. 1*10 disc (*D*
DL*4076) $2.50.

Handel: Overture Suite. One side, and Handel:
Aria No. 1 for Two Homs. And Handel: Aria
No. 2 for Two Horns. And Handel: Gavotte.
And Handel: March. London Baroque Ensemble
conducted by Karl Haas. 1*10" disc (*D*DL*
4070) $2.50.

Here are two more LP discs by Karl Haas famous
London Baroque Ensemble.^ True, they will have a
limited appeal; but those who appreciate music of
this character and have been collecting recordings
by this celebrated chamber group will be glad to
know that they are available.

PAGE 7

H. ROYER SMITH COMPANY

* indicates LP 331/3 rpm.
0 indicates 45 rpm.

NOVEMBER

The N ew R ecords

1953

Copland: Appalachian Spring. One side, and
Piston: The Incredible Flutist. Symphony Or'
chestra of Radio Berlin conducted by Arthur
Rother. M2" disc (*UR'URLP'7092) $5.95.

It seems that we have to go to Europe for record'
ings of our American composers. In the present case
we go to Berlin for recordings of two typically
American works by two of our outstanding com'
posers, Aaron Copland and Walter Piston. Mr.
Copland’s ballet Appalachian Spring was written
for Martha Graham and was first produced in 1944.
It won the Pulitzer Prize in 1945 and was given
the New York Critics Circle award for the outstand'
ing theatrical work of the 1944'45 season. From the
ballet Copland arranged the symphonic suite here
recorded. This suite was given its first performance
by the New York Philharmonic'Symphony on 4
October 1945. Since that time it has been success'
fully performed by many leading symphony orches'
tras throughout the country. . . . Piston’s The
Incredible Flutist dates from 1938 and was given
its first performance in the spring of that year by
Hans Wiener and His Dancers and the Boston
“Pops” under the direction of Arthur Fiedler. . . .
Both of these works are a joy to listen to and rate
with the most popular modern American composi'
tions in the ballet field.

Weber: Concerto No. 1 in C, Op. 11. One side,
and Weber: Concerto No. 2 in E-flat, Op. 32.

Friedrich Wuhrer (piano) with the Pro Musica
Symphony (Vienna) conducted by Hans Swar'
owsky. 1 ' 1 2 " disc (*VX'PL'8140) $5.95.

Since Weber the instrumental composer is known
almost exclusively for the Konzertstuc\e and, per'
haps, the Clarinet Concerto, it was with a feeling of
condescension (born of ignorance, it soon developed)
that this reviewer started to play the two youthful
concerti recorded here. So far, he has played them
three times in as many days, each time with increas'
ing enjoyment

The first of the two, dating from 1810, is obviously
the work of a young man (Weber was twentyTour)
but knowing that he was later to compose Der
Freischixtz and Oberon, the listener can hear orches'
tral effects that foreshadow those in the great
romantic operas. The opening march'like movement
is melodious and lyrical, the slow movement is little
more than an intermezzo, being only forty'eight bars
in length, then a brisk rondo brings the joyous work
to an eminently satisfactory conclusion.

The second concerto, written two years later,
shows considerable structural growth and is, perhaps,
more sensuous than its predecessor. The slow move'
ment here is a charmingly worked out adagio. The
writing for piano is more complex and calls for
greater virtuosity, especially in the last movement.
The annotator, on the jacket of this disc, has

happily phrased the effect the two concerti achieve
. . (they) have undeniable charm which can be
explained neither by theory nor by analysis; it is
rather the carefree exubrance of a genius in his
first joyous expression.”

Frederich Wuhrer is an ideal interpreter for this
romantic music, and Hans Swarowsky and the Pro
Musica Orchestra supply tasteful and appropriate
accompaniments. The recording is fine, and the
reader is urged to investigate this record. It is one
of the year’s most pleasant surprises. W.

Schumann: Concerto in A minor, Op. 129. One
side, and Bruch: Kol Nidrei, Op. 47. And J. C.
Bach: Concerto in C minor. Joseph Schuster
(violoncello) with the Los Angeles Orchestral
Society conducted by Franz Waxman. M2" disc
(*CL'P'8232) $5.70.

This LP disc will probably act as an introduction
to many music lovers of the distinguished violon'
cellist, Joseph Schuster. Mr. Schuster was born in
Constantinople in 1905. He studied at St. Peters'
burg and Berlin and was for five years the first
’cellist of the Berlin Philharmonic. He came to
America in 1934 and shortly thereafter became first
’cellist of the Philharmonic'Symphony of New York.
After eight years in that position, he began con'
certizing in recitals and as soloist with important
symphony orchestras. Successful tours of South
America, Europe, the Orient and the United States
have been made within recent years.

In the present recording he is teamed with the
very fine Los Angeles Orchestral Society, an organi'
zation of outstanding players, under the direction
of Franz Waxman. This Society was founded in
1947 for the purpose of bringing a Festival of Music
each year to Southern California. These Festivals
have met with great success and have been the means
of introducing much new music and some very fine
young artists to the music lovers of our country.

Schumann: Concerto in A minor, Op. 54. Wilhelm
Kempff (piano) with the London Symphony
Orchestra conducted by Josef Krips. M2" disc
(*L'LL'781 ) $5.95.

When the Novaes'Klemperer recording of this
work was released (*VX'PL'7l 10) we thought it the
best performance we had ever heard, and we have
stuck to that opinion as each subsequent release was
reviewed. We are still sticking to that opinion. The
vitality and enthusiasm which Mme. Novaes and her
orchestral collaborator bring to this music is in no
wise matched by Kempff and Krips. Krips never is
a ball of fire, taking things on the pale, pastel, dainty
side whenever possible, and Kempff seems to lack
the romantic sweep and bravura which this music
can stand so nicely. Maybe Kempff was tired the
day he made this disc, for he is not lacking in energy
in the admirable series of Beethoven Sonatas which
he recorded. Whatever the reason, the audible facts
remain that these two gentlemen do not offer nearly

* indicates LP 33 1/3 rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 8

NOVEMBER

T he Nm; R ecords

1953

as vital a performance as Novaes and Klemperer.
In matters of reproduction, you may prefer London,
for Vox's tonal quality is dangerously brilliant, ah
though it can be tone'controlled to a pleasant point.
London's reproduction, in this case, is a shade too
dark for our taste.

Schumann's Piano Concerto is not only one of
his finest works, but it is one of the great piano con'
certos in all the literature of this form, as well as
one of the great works of the romantic period. It
abounds in the most lovable of melodies; and its
construction is satisfying in its logic, much as a
Beethoven symphony. That such a masterpiece
should receive numerous good recordings is to be
expected, and Serkin, Rubinstein, and Lipatti,
among others have LP’s worth considering if you
are particularly fond of these artists. Of the later
recordings we enthusiastically endorse Novaes, and
think most folks will enjoy her rendition immensely.

S.

Concertos for You. Liberace (piano) with Paul
Weston and his Orchestra. M 2" disc (*OML'
4764) $5.45.

CONTENTS: Warsaw Concerto (Addinsell);
Chopin’s Fantasia (arr. Robinson); Dream of Olwen
(Williams); Stella by Starlight (Young); Grieg's
Piano Concerto (excerpts from 1st movement — arr.
Robinson); Cornish Rhapsody (Bath); Laura (Rak'
sin); Spellbound Concerto (Rozsa); Rachmaninoff’s
Fantasia (arr. Robinson).

The great Liberace, “The Chopin of TV," has
turned to the music of certain films and to Chopin,
Gneg and Rachmaninoff for pieces that were in
concerto form, or could be nicely arranged for piano
and orchestra, and made up the tuneful program
that will be found on this LP disc. Serious music
lovers may tear their hair at this one; but those who
don't know and don't care where a tune comes
from as long as it is pleasing to listen to will think
this “classical" music is the nuts.

CHAMBER MUSIC f&t

Mozart: (6) Quartets Dedicated to Haydn. Buda'
pest String Quartet. 3' 12" discs in album (*C'SL'
187) $17.35.

CONTENTS: Quartets in G, K. 387; in D minor,
K. 421 ; in E'flat, K. 428; in B'flat, K. 458 (“The
Hunt"); in A, K. 464; in C, K. 465 (“Dissonant").

Last year (TNR November 1952) Columbia issued
a complete recording of the sixteen Beethoven String
Quartets by the Budapest players. The recording
was made in the Coolidge Auditorium of the Library
of Congress and the famous Stradivari instruments
of the Gertrude Clarke Whitall Foundation were
used. This recording, which was released in three
volumes, was a great success and marked an impor'
tant milestone in the progress of the art. This year,
we have recordings of the six string quartets which
Mozart dedicated to Haydn recorded by the &ame

artists in the same auditorium; the same famous
instruments were used. It is our guess that these
later recordings will meet with just as must favor
as did the earlier ones.

Beethoven: Sonata No. 3 in A, Op. 69. (TNR Feb.
’49). And Beethoven: Sonata No. 5 in D, Op.
102, No. 2. And Beethoven: Sonata No. 4 in C,
Op. 102, No. 1 . (TNR July ’50). Artur Schnabel
(piano) and Pierre Fournier (violoncello). 4'7"
discs in box (^V'WCT'l 124) $5.14. M2" disc
(*V'LCT'1124) $5.72.

Both the Sonata T^o. 3 in A, Op. 69 and the
Sonata T^o. 4 in C, Op. 102, No. 1 have been
previously issued in America and reviewed in The
New Records in the issues indicated in the heading.
However, the Sonata No. 5 in D, Op. 102, No. 2,
while previously recorded, was issued only in Europe
and never found its way to our shores. We can only
suggest that it would be difficult to obtain a better
recorded performance than Messrs. Schnabel and
Fournier turn in here, and the reproduction is quite
satisfactory, even by today's undeniably high
standards.

Grieg: Sonata No. 3 in C minor, Op. 43. One side,
and Schubert: Sonata No. 5 in A, Op. 162

(“Duo”). Fritz Kreisler (violin) and Sergei Rach'
maninoff (piano). 4*7" discs in box (0V'WCT'
1128) $5.14. M2" disc (*V'LCT'l 128) $5.72.
RCA Victor has reissued these beautiful renditions
by Kreisler and Rachmaninoff, and collectors may
be thankful that these long lost versions are once
again available. Considering that both Sonatas were
recorded before The New Records came into
existence, the reproduction is amazingly good; how'
ever those interested in this recording will not hold
the reproduction against it, in any case.

Prokofiev: Sonata in F minor, Op. 80. One side,
and Prokofiev: Sonata in D, Op. 94. Isaac Stern
(violin) and Alexander Zakin (piano). M2"
disc (*C'ML'4734) $5.45.

If you are interested in these two outstanding
chamber works by the late Russian composer, Serge
Prokofiev, it will be hard to imagine better per'
formances than those presently supplied by Isaac
Stern and Alexander Zakin. We presume that they
will take the place of the earlier versions by Szigeti
that are listed in the Columbia catalog.

CHORAL

Isaac: Missa Carminum. (Sung in Latin). Vienna
Akademie Kammerchor conducted by Ferdinand
Grossmann. M2" disc (*WEST'WL'521 5) $5.95.
Among the great figures of the Renaissance, that
of Heinrich Isaac or Arrigo Tedesco (Harry the
German) has been overlooked with a beautiful
unanimity. The author of many secular and religious
works, Isaac lived a relatively long (circa 1450' 1517)
life, traveled considerably and, while his music was
popular in his day, it soon slipped into the category

PAGE 9

H. ROYER SMITH COMPANY

* indicates LP 33 1 /3 rpm.
0 indicates 45 rpm.

NOVEMBER

T he ISlew “Records

1953

of the museum piece. He is remembered best, per'
haps, for his harmonization (it is not thought he
wrote the tune) of the famous folk song Innsbruc\,
ich muss du lassen which, incidentally, is incorporated
into the "Christe elision" of the Mtssa Carminum.

No one knows for sure when the M issa Carminum
was written. First knowledge of it came some twenty'
four years after Isaac's death when the work was
published. A recent edition, dating from 1930 is, in
all probability, the version used in this recording.
The mass is divided into the usual five sections,
Kyric, Gloria, Credo, Sanctus and Agnus Dei. Isaac
was not above using popular songs in his masses, for
in addition to the instance noted above, there is
conclusive evidence of secular tunes in the Gloria
section. It was practices such as these that led to
the reforms instituted by Pope Gregory XIII.

The performance recorded here struck this re'
viewer as a bit heavy for Renaissance music. Either
the chorus is too large or the recording is too "big"
for there is a massiveness about it that would be
much more appropriate to the baroque style. It is
difficult to judge a work such as this via the phono'
graph and without a score, and Westminster does
not help matters any by furnishing nothing but
the most general notes with no indication of the
forces employed or any sort of "touch'Stone" as it
were, for the relatively uniniatiated to use as a
guide. Definitely a record for the scholar and lover
of old music. W.

Bach: St. Matthew Passion (complete). (Sung in
German). Magda Laszlo (soprano); Hildegard
RoessehMajdan (contralto); Petre Munteanu
(tenor); Richard Standen (bass); Chorus and
Orchestra conducted by Hermann Scherchen. 4' 12"
discs in album (*WEST'WAL'401 ) $24.45.

Bach: St. Matthew Passion (abridged). (Sung in
German). Jo Vincent (soprano); Ilona Durigo
(alto); Luis van Tulder (tenor); Herman Schey
(bass); Amsterdam Toonkunstchoir and "Zang'
lust" Boys' Choir and Concertgebouw Orchestra
of Amsterdam conducted by Willem Mengelberg.
3' 12" discs in album (*C'SL'179) $17.35.

There are as many ways of performing Bach's
music, it would seem, as there are performing artists.
These two recordings of the monumental Saint
Matthew Passion illustrate the foregoing platitude
very nicely. Hermann Scherchen, a somewhat con'
troversial figure among phonophiles (this reviewer,
it must be admitted, is more pro than con) takes
a dramatic approach, while the late Willem Mengeh
berg adopts the more conventional, the nineteenth
century position of playing it, as though Bach had
lived at the dawn of the romantic era.

Now to state bluntly which is correct would be
manifestly impossible. Historically, however, there
is a case to be made for the dramatic approach.
Christian Adler, writing in 1732, some three years

after the premiere of the Saint Matthew Passion
stated "When this theatrical music began, all the
people were thrown into the greatest bewilderment,
looked at each other and said ‘What will come of
this?' An old widow of the nobility said: ‘God save
us, my children! It is just as if one were at an
opera'comedy!'." So much, then, for performances
in Bach’s time. The story of the Saint Matthew
Passion is certainly one of the most dramatic and
moving of all time; and to play it in a quiet, almost
contemplative manner can scarcely be condoned.

This writer, then, decidedly prefers the West'
minster performance to that on Columbia from an
interpretive aspect. There is also another item — two
in fact — to be considered. First, the Columbia set is
abridged, particularly as regards the second section,
while the Westminster seems (a score was not
available) complete. Second, the Columbia discs
were made at an actual performance that took place
about fourteen years ago — the Westminster is new
and, of course, is a performance for records.

Naturally there will be those who admire MengeL
berg and as a memento of his work the set has its
obvious merits. It is difficult to appraise the work of
the soloists in this set because of the technical defh
ciencies of the recording. Scherchen’s vocalists and
chorus, however, are very good. There is a group
of excellent instrumental soloists and the unnamed
chorus and orchestra are always more than adequate.

Complete texts and, in the case of the Westminster
recording intelligent notes, are furnished. W.

Vaughan Williams: Five Tudor Portraits. Nell
Rankin (mezzo'soprano); Robert B. Anderson
(bass'baritone); the Mendelssohn Choir of Pitts'
burgh directed by Russell Wichman; and the
Pittsburgh Symphony Orchestra conducted by
William Steinberg. 1'12" disc (*CL'P'8218)
$5.70.

This is a first recording of a presumably new
work by Ralph Vaughan Williams. The Five Tudor
Portraits is described as a "choral suite," and the
recording was made at an actual performance during
the First Pittsburgh International Contemporary
Music Festival. It is a musical setting of five poems
by John Skelton (1460' 15 29) one time English
Poet Laureate.

Musically the work is characteristic of Vaughan
Williams’ choral writing, another way of saying it
is a craftsmanlike job, melodious and reminiscent
of English folk song. The performance, insofar as
one can judge, is a good one. The chorus sings with
spirit and expression. Obviously well trained and
rehearsed, they give an excellent account of them'
selves. The soloists are good and enter into the spirit
of the work. Steinberg and the orchestra second
everyone’s efforts admirably.

What is confusing, however, is the complete ab'
sence of any sort of analytical notes. Here is a

* Indicates LP 331/3 rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 10

NOVEMBER

The Nm R ecords

1953

work, new to records, probably new to everyone but
a few specialists (and those present at the concert),
yet no information is supplied, aside from the texts
of the poems. And what a help they are! Here is
a sample, taken at random, from number five. Jolly
Rutter\in:

Rutterkin can speak no English,

His tongue runneth all on buttered fish
Besmeared with grease about his dish
Like a rutter hoyda.

Or here is a specimen from number four, Jane Scroop
( Her lament for Phillip Sparrow ):

The bird of Araby
That potentially
May never die,

A phoenix is

This hearse that must bless
With aromatic gums
That cost great sums
The way of thurification
To make a fumigation.

There may be some meaning to all this, but so
far it has eluded this writer. Even with an intelli'
gent analysis the work would be difficult of access;
and with nothing at all, the performance must re'
main, for at least one listener, a mystery. Nor is
there anything about the music or the poems that
tempts one to go any further. W.

Gregorian Chants. Mt. Angel Seminary Gregorian
Choir (Oregon) conducted by Dom David Nichob
son, O. S. B. M2" disc (*GIOA'MA'LP'l)
$5.95.

CONTENTS: Puer natus in Bethlehem (Mode
I); O Filii et Filiae (Mode II); Dominus dixit ad
me (Mode II); Kyrie “Rector cosmi pie" (Mode II);
Ave Maria (Mode VIII); Gloria in Excelsis Deo
(Mode IV); Salve Mater (Mode V); Laudes ab
hincmari (Mode I); Sanctus XI (Orbis factor,
Mode II); Viri Galilaei (Mode VII); Alleluia, vidi'
mus stellam (Mode II); Regina Caeli (Mode VI);
Litany of the Sacred Heart (Mode I).

The present choir is composed of forty young
men who are studying for the priesthood at the
Benedictine Abbey of Mt. Angel located about
forty miles south of Portland, Oregon. This choir
was founded by its present director, Father David
Nicholson, O.S.B. and “is dedicated to bringing the
simple and quiet beauty of the ancient plainchant
to the people via the concert stage." The choir has
made numerous appearances in concert, on the radio
and television, and has appeared in a Technicolor
film, “They Heard the Angels Sing."

This disc proves that plainchant may be appre'
ciated by the average music lover for its musical
beauty alone if it is presented as Father Nicholson
presents it on this record.

OPERA

Leoncavallo: I Pagliacci (complete). (Sung in
Italian). Clara Petrella (soprano); Mario del
Monaco, Piero di Palma (tenors); Aldo Protti,
Afro Poli (baritones); Chorus and Orchestra of
the Academy of St. Cecilia (Rome) conducted
by Alberto Erede. Three sides, and Operatic
Recital. Mario del Monaco (tenor) with Chorus
and Orchestra of the Accademy of St. Cecilia
(Rome) conducted by Alberto Erede. 2' 12" discs
in album (*L'LL'880/1 ) $11.90.

CONTENTS: Pagliacci — Prologue; La Forza del
Destino — La vita e inferno al’ infelice (recit), O tu
che in seno (aria); Rigoletto — Questa o quella;
Rigoletto — La donna e mobile; La Gioconda — Cielo
e mar; La Juive — Rachel, quand du Seigneur.

With five recordings of Leoncavallo’s I Pagliacci
now available it seems like a good time to stop and
evaluate them. The four previous versions, two on
RCA Victor and one each on Cetra and Columbia
all leave a little to be desired, as does this newest
release on London.

I Pagliacci without a great dramatic tenor — one
should say a great Italian dramatic tenor — will al'
ways be a little less than it could and should be.
Gigli, for example, is a great Italian tenor but
Canio makes demands on his dramatic abilities that
he does not always meet satisfactorily. Bjorling and
Tucker have the vocal equipment but not the
temperament. The tenor of the Cetra set was almost
woefully inadequate vocally but he had a degree of
fire and spirit that helped him over the rough spots.
Del Monaco, the Canio of the present set, has lots
of voice but little else. There is almost no attempt
on his part to realize any of the character. He roars
and bellows his way through the score in a manner
that tears passion to shreds, and his Canio bcomes
an almost sub'human caricature.

The same general strictures might also be repeated
concerning the different Neddas and Tonios (with
the notable exception of Victoria de los Angeles’
vocally magnificent characterization). In this London
set Nedda, in the person of Clara Petrella is quite
adequate but not particularly distinguished. This is
also true of Aldo Protti as Tonio.

The conductors of the various performances also
vary widely from the fine job turned in by Renato
Cellini (RCA Victor) and Simonetto (Cetra) to
the mediocre one of Cleva (Columbia). Erede’s is
a workmanlike presentation but lacks the necessary
imagination to make it memorable. Recording tech'
niques also come into the picture — RCA Victor has
the best (*V'LM'6106), Cetra perhaps the poorest.
The older Victor set (*V'LCT'6010) is also only
fair. The present London recording is quite ac'
ceptable.

On the fourth side of this set del Monaco sings

PAGE II

H. ROYER SMITH COMPANY

indicates LP 331/3 rpm.
0 indicates 45 rpm.

NOVEMBER

The Nf w Records

1953

a group of arias in a stentorian fashion. Included
is the “Prologue" from Pagliacci sung in the original
key (i.e., for baritone). One feels that Sgr. del
Monaco should be above such tricks — he is still a
tenor.

What, then, does all this add up to? First, there
is no completely satisfactory recording. Secondly,
most of the performances possess a degree of merit,
depending on one’s personal taste. This corner would
rate the five • available sets as follows: (1.) RCA
Victor (*V'LM'6106), (2.) RCA Victor (*V'LCT'
6010), (3.) Cetra, (4.) London and (5.) Columbia.

Please, no more Pagliacci’s unless the services of
a tenor having the proper qualifications can be
engaged. W.

Excerpts from Rameau Operas. Nadine Sautereau,
Flore Wend (sopranos); Irma Kolassi (mezzo'
soprano); Paul Derenne, Jean Maciet (tenors);
Bernard Demigny (baritone); Doda Conrad
(bass); Vocal and Instrumental Ensemble directed
by Nadia Boulanger. M2" disc (*D'DL'9683)
$5.85.

CONTENTS: Dardanus — Excerpts from Act II;
Castor et Pollux — Minuet from the Prologue; Hip'
polyte et A ride — Excerpt from Act V; Dardanus —
Excerpt from Act III; Les Indes Galantes — Excerpt
from Entre II; Hippolyte et A ricie — O disgrace
cruelle, Overture and Fanfare; Ballet figure (orches'
tra); Castor et Pollux — Excerpt from Act IV; Les
Fetes d’Hebe — Excerpts; Platee — Excerpt.

One of the brightest stars in the early 18th cen'
tury French musical firmament was Jean'Phillipe
Rameau. Not too well represented on LP records,
this disc will, to a limited extent, make his music
known to the record buying public.

Nadia Boulanger, who is well known for her in'
vestigations of old French music, has gathered to'
gether a vocal ensemble and some instrumentalists
and they have recorded excerpts from some of the
operas that have, heretofore, been only names in
the music histories and dictionaries. There are ex'
cerpts from Dardanus (1739), Les Indes Gallants
(1735) and Platee (1749) that will undoubtedly
be new to most listeners.

Of the singers. Miles. Kolassi and Wend are
excellent while Messrs. Derenne and Demigny carry
off the honors on the sword side. Doda Conrad, the
once fine basso, sounds very poor here in the first
Dardanus excerpt. Miss Sautereau is fair but not
distinguished.

The music, which should be of far more impor*
tance than the musicians, is primarily of historic
interest. Further, one has an uneasy feeling that the
scores have been “arranged" — the instrumentation
is obviously a modern one and the singers are sing'
ing in a modern manner. This is not intended as
overt criticism; rather this reviewer feels that Nadia
Boulanger and Decca should have furnished some
information concerning the music and how it has
been “restored," as it were, rather than presenting

it, as they have done, merely by giving a few his'
torical facts about each opera and a brief outline
of the story. The majority of persons interested in
this music are also vitally interested in the perform'
ance data which, unfortunately, is totally lacking.
Few of us have access to the scores of the originals
and are thus dependent for such information upon
the issuing company. Decca, in failing to supply
this necessary data, may be said to have struck out
with the bases full. W.

d’Albert: Das Tiefland (complete). (Sung in Ger'
man). Soloists, Chorus of the Vienna State Opera
and Vienna Philharmonia Orchestra conducted by
F. Charles Adler. 3' 12" discs in album (*SPA'
40/42) $17.85.

One evening, over twenty years ago, the writer
spent a very dull several hours in the Philadelphia
Academy of Music listening to a performance of
d’ Albert’s Tiefland as presented by the Philadelphia
Grand Opera Company (or was it the Civic Opera?).
Curious to see if the dullness was due to youth or
to d’Albert, he played the present recording (a first,
incidentally) and found out, to his own satisfaction,
that youth was not at fault — Tiefland is dull going.

Someone, in a very uncritical moment, referred to
the opera as a “German Carmen,” to which it can
be replied facetiously that it does remind one of
Carmen, it is so different. The plot is a sordid one
and immoral to boot (the murderer goes unpunished).
Musically the score rolls on with not even a page
or two of originality or humor to lighten it. Obviously
the work has never been popular in this country. The
Metropolitan mounted it in its 1908'09 season; and
although Emmy Destinn was entrusted with the
leading role, the piece only achieved four perform'
ances. In Germany, however, it has been relatively
popular for reasons that are not known to this
reviewer

The cast is of the calibre that, unfortunately, one
has come to associate with Central European record'
ings. A group of adequate singers who move through
their parts in an almost mechanical fashion (not that
they could do much else with this opus) and, when
it is all over, one’s reaction is that the whole affair
was “an expense of spirit in a waste of time.”

SPA’s recording is good and Adler’s direction
seems sure and coherent. But what is the use of all
this when the raison d'etre is Tiefland 1 W.

Donizetti: Lucia di Lammermoor (complete). (Sung
in Italian). Dolores Wilson (soprano); Gianni
Poggi (tenor); Anselmo Colzani (baritone); Silvio
Maionica (bass); Orchestra and Chorus of the
Opera di Milano conducted by Franco Capuana.
3'12" discs in album (*UR'URLP'232) $18.50.
Donizetti’s hardy perennial, Lucia di Lammermoor,
receives, in this release, its second LP recording.
The early Cetra set was notable for the Lucia of
Lina Pagliughi and also for the very good Edgardo
of Giovanni Malipiero; but the technical limitations

* indicates LP 331/3 rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 12

NOVEMBER

The N ew R ecords

1953

of the recording militate, to a certain extent, against
its wide acceptance today. So it might be argued that,
despite its very real artistic excellence, a new record'
ing would be in order.

This would all have been well had this new
release possessed some of the artistic merit of its
predecessor to match the excellent sound but, alas,
such is not the case. Lucia, in the person of Dolores
Wilson, is a tame affair. There are the usual vocal
acrobatics, without meaning; there is no expressive'
ness, no warmth to her vocalizing to make it credible.
Miss Wilson’s voice, in this recording, is rather hard,
accurate and almost colorless. Gianni Poggi, a better
than average Italian tenor sings a very fine Edgardo,
one that is notable for its warmth, expressiveness
and the absence of objectionable vocal mannerisms.
Some of these qualities may be accentuated by Miss
Wilson’s robot'like Lucy, however. Anselmo Colzani
as Ashton is run'of'the'mill; his voice always seems
muffled — not a very satisfactory baritone. The lessor
roles, the chorus and orchestra are all pretty good
but not exceptional and this reviewer is old fashioned
enough to think that all recorded performances
should be on the exceptional side, or else what is
the use of preserving them?

Maestro Capuana’s direction here, as in his other
recorded operas, is distinguished by his ability to
keep things moving without being brusk. He does
a good job considering some of the forces at hand.

Urania’s recording, as intimated before, is good
and there is the usual fine libretto and pictures this
company always supplies. W.

Menotti: Amahl and the Night Visitors (excerpts).
Chet Allen (boy soprano), Rosemary Kuhlmann
and members of the original NBC Television cast
with orchestra and chorus conducted by Thomas
Schippers. 1'7" disc (0V'ERA'12O) $1.58.
CONTENTS: Don't cry, mother dear ; March;
Shepherds’ Chorus; Shepherds’ Dance; Have you
seen a child?; All that Gold.

Here is a lot of opera for the money. RCA Victor
has issued this “Extended Play” 45 rpm record
of excerpts from its original cast recording of the
complete Amahl and the Wight Visitors (*V'LM'
1701, TNR Nov. ’52). A fine disc for those whose
budget or tastes do not run to complete opera
recordings.

Operatic Arias. Dorothy Kirsten (soprano) with
orchestra conducted by Fausto Cleva. IT 2" disc
(*C'ML'4730) $5.45.

CONTENTS: Traviata— Ah! fors’ e lui fc? Addio
del pasato; Boheme — Musetta’s Waltz Song & Mimi’s
Farewell; Faust — The King of Thule & Jewel Song;
Carmen — Micaela’s Air; Andrea Chenier — La mam'
ma morta.

Miss Kirsten's many admirers will welcome the
opportunity this record affords to hear her in seven
familiar arias from five welbknown and much'

beloved operas. Miss Kirsten is in top form, and
she is ably supported by fine orchestras under the
distinguished direction of Fausto Cleva.

Lalo: Symphonic Espagnole, Op. 21. Alfredo Cam'

poli (violin) with the London Philharmonic Or'

chestra conducted by Eduard van Beinum. l'l 2"
disc (*L'LL'763) $5.95.

This is the best Campoli recording to come our
way. Campoli is a much admired violinist throughout
Britain, and he has made numerous records for
London; but this one appeals to us more than his
previous efforts. His handling of the many technical
difficulties in this score shows him to be a fiddler
of the highest order. The principal competition for
this disc is by Heifetz and by Menuhin. Menuhin
plays all five movements, as does Campoli; but Heifetz
omits the third movement, Intermezzo, as is fre'
quently done in concert performances. Heifetz is
admittedly the most sensational, his technical prowess
shines with real dazzle in this work, and Victor's
reproduction is very close and clearly etched (*V'
LM'127). Menuhin does not enjoy reproduction as
revealing as Heifetz’s, nor as smooth and clear as
Campoli; nor is his playing as even as Campoli’s. We
would eliminate Menuhin, and let the choice rest
between Heifetz and Campoli. Our preference would
be Campoli, because the work is complete and the
reproduction more pleasing, in addition to which
he receives superb orchestral collaboration from van
Beinum.

The Symphonie Espagnole remains Lalo’s most
enduring composition and is one of the major works
for violin and orchestra in this repertoire. Bizet
Chabrier, and Lalo produced works in the Iberian
idiom at about the same time. Lalo, however, had
Spanish blood, and his work is convincing in style
even if it could not be called authentic. The success
of the Symphonie Espagnole was nearly certain,
since it was written for the great Spanish violinist
Pablo Sarasate, with whom Lalo was on terms of
intimate friendship. The stimulus of a virtuoso
brought out the best qualities of Lalo. The original
version of the work had four movements only, the
Intermezzo being added later by the composer. S.

VOCAL

A Recital of German Lieder and Arie Antiche.

Irma Kolassi (mezzo'soprano) accompanied by
Jacqueline Bonneau (piano), l'l 2" disc (*L-LL'
747) $5.95.

CONTENTS: W idmung, Op. 25, No. 1; Die
Lotoshlume, Op. 25, No. <7; In der Fremde, Op. 39,
No. 1 (Schumann). Der M usensohn, Op. 92, No. I;
Du bist die Ruh’, Op. 59, No. 3; Der Erl\onig,
Op. 1 (Schubert). Vezzosete e care pupillette (Fab
conieri); Ah, mio cor (Handel); Chi vuol la zin'

PAGE 13

H. ROYER SMITH COMPANY

indicates LP 331/3 rpm.
0 indicates 45 rpm.

NOVEMBER

1953

T he NW> R ecords

garella (Paisiello); Amarilli mia Bella (Caccini);
Se florindo e fedele, Gia il sole dal gauge (Scarlatti);
Lasciatemi morire (Monteverdi); Intorno all'idol mio
(Cesti).

Irma Kolasi follows her record of French songs
(TNR Oct. ’53) with this one devoted to German
lieder and old Italian airs. To be honest, this disc
is not as good as its predecessor. Miss Kolassi is
not in her element here, and the music does not
“come off.”

Of the lieder, the Schumann songs are, perhaps,
the best sung of the group. And yet, even here, a
certain lack of understanding is noticeable in WicL
mung and In der Fremde — another case, so frequent
nowadays, of the singer being note perfect and little
else. The Schubert songs, all magnificent music, are
little more than empty shells.

The arie antiche seem, by and large, to be sung
awkardly — although this may be due less to a lack
of vocal method than to an inability, as it were,
on the part of the singer, to wed words and music.
The selections are well chosen; the little arias from
I Zingari in Fiera (Paisiello) and Alcina (Handel)
are interesting, almost charming, even in these some'
what labored performances. At the end of the
record, though, due to Kolassi’s mechanical vocaliza'
tion, one has a feeling of monotony, a fate the
sparkling music does not deserve.

Martin Cooper’s notes are good but arranged in
a heterogenous manner so that one must search
for the comments that apply to the song being sung —
the order of the music on the record and that of the
commentary on the jacket are different — a particularly
gratuitous annoyance. Nor can this reviewer see
the need, at current prices, to susbtitute a piano
where a harpsichord or a small orchestra is obviously
called for, as in the case of the arie antiche. This
remark is made with all due respect for Mile. Bon'
neau’s exquisite accompaniments. W.

PIANO

Bach: (6) English Suites. Alexander Borovsky

(piano). 2' 12" discs in album (*VX'PL'7852)
$11.90.

Bach: (6) English Suites. Reine Gianoli (piano).

3'12" discs in album (*WEST'WAL'306) $18.50.

Here we have two recorded versions of Bach's
(6) English Suites by pianists who are both noted
for their interpretations of the great Johann Sebas'
tian; we find little to choose between them. However,
economically there is quite a difference. Vox by
putting one suite and part of another on one record
side gets all six on two LP discs and thus effects
quite a saving, $11.90 against $18.50. Westminster
devotes one record side to each suite and thus uses
three discs. This is a very convenient arrangement,
but whether it is worth the additional cost is some"
thing one must decide for himself. Also Westminster
includes with its set a nicely printed miniature score

of some 86 pages, which is certainly of considerable
value and might be enough to tip the scales in its
favor.

Gieseking Recital. Walter Gieseking (piano), l'l 2"
disc (*C'ML'4646) $5.45.

CONTENTS: Suite No. 5 in E (Handel); Partita
No. 6 in E minor (Bach); Sonata in C, L. 44 3
(Scarlatti); Sonata in E minor, L. 275 (Scarlatti);
Sonata in E, L. 23 (Scarlatti); Sonata in D minor,
L. 413 (“Pastorale”) (Scarlatti); Sonata in D,
L. 424 (Scarlatti).

The art of Walter Gieseking is highly appreciated
by many American music lovers, and a new record
by this distinguished pianist is always an occasion
of moment. The present LP disc contains a recital
of selections by three outstanding 18th century com'
posers. Mr. Gieseking has given excellent perform'
ances, and Columbia has supplied the best of piano
reproduction.

Szymanowski: Symphonie Concertante for Piano
and Orchestra, Op. 60. Artur Rubinstein (piano)
with the Los Angeles Philharmonic Orchestra
conducted by Alfred Wallenstein. One side, and
Rachmaninoff: Rhapsody on a Theme of Paga-
nini, Op. 43. Artur Rubinstein (piano) with the
Philharmonia Orchestra conducted by Walter
Susskind (TNR Jan. ’49). 4'7" discs in box
(0V'WDM'1744) $5.14. M2" disc (*V'LM'
1744) $5.72.

RCA Victor has taken Rubinstein’s outstanding
reading of the ever'popular Rachmaninoff Rhapsody
on a Theme of Paganini (formerly *V'LM'26, TNR
Jan. ’49) and coupled with a new and equally
outstanding performance of Szymanowski’s Sym'
phonie Concertante (first on LP). Admirers of
Rubinstein’s impeccable technique take note!
Chopin: Waltzes (complete). Guiomar Novaes
(piano). M2" disc (*VX'PL'8170) $5.95.
Despite the fact that these Chopin Waltzes have
been recorded on LP discs by Brailowsky, Kilenyi,
Lipatti and Pennario, we predict that the present
disc will enjoy a large sale. Novaes has a great and
enthusiastic coterie of admirers in the United States,
many of whom will doubtless feel that no one can
excel this distinguished Brazilian pianist in such
selections as the Chopin Waltzes.

HARPSICHORD

In Memoriam: Edith Weiss Mann. Edith Weiss
Mann (harpsichord). M2" disc (*WEST'WL'
5214) $5.95.

CONTENTS: Sonata in C minor (Telemann);
Sonata in F (Pepusch); Sonata in E minor (Tele'
mann) (with Alfred Mann, recorder, Lois Wann,
oboe); Sonata in F (A. Scarlatti) (with Alfred
Mann, recorder, Lois Wann, oboe, & Albert Mell,
violin).

We can think of no better way to introduce this

* Indicates LP 33 1 /3 rpm.
0 indices 45 rpm.

H. ROYER SMITH COMPANY

PAGE 14

NOVEMBER

T he Ntfa; Records

1953

unique recording than to quote from the notes of
Edward Tatnall Canby which accompany this disc:

“This recording is presented as a memorial to
Edith Weiss Mann who died in May 1951. It was
made in her apartment at a time when this indo-
mitable musician was already too ill to undertake
outside engagements. The guiding strength, the
perfect taste of her performance of the continuo
parts, in spite of the difficult circumstances, is no
more than those of us who knew her would have
expected from a woman whose knowledge, charac-
ter, and wide-range musicianship had made her a
leader in this field for almost a half century.

“The present recording, made by the writer with
the assistance of several willing engineers, is not
presented as a perfect example of the new electronic
art, but we feel that, under the circumstances, its
technical problems were satisfactorily solved."

Elisabethan Keyboard Music. Charles Koenig (harp'
sichord). 1-12" disc (*EMS-236) $5.95.
CONTENTS: A Toy (Anon.); Fantasia (Mor-
ley); The Primerose (Pearson); Pavana (Johnson —
arr. Farnaby); Corranto (Anon.); Fayne Would I
Wedd (Farnaby); In Nomine (Bull); The Fall of
the Leafe (Pearson); Pavana (Bull); Galiarda (Bull).

This LP disc contains a group of pleasing little
melodies that date from the time of Elizabeth and
James I and are traditionally played in a highly
artistic manner by Charles Koenig. If you would
like to live in another musical age for a brief half-
hour or so, the present disc is indicated.

Bach: Toccata and Fugue in D minor. One side,
and Bach: Prelude and Fugue in E minor. Robert
Noerhren, playing the organ of Grace Episcopal
Church, Sandusky (Ohio). 1-12" disc (AUDIO-
PHILE AP-9) $5.95.

This Audiophile record is designed primarily for
hi-fi fans. The attempt has been made to reproduce
a church organ as nearly perfectly as possible at this
stage of the art of recording. Audiophile believes
that the best results are obtained when the recording
is made to play at the relatively high speed of 78
rpm with a one-mil stylus (the same needle that is
used to play LP discs). Because of the narrow
grooves the present record will play about eight
minutes to a side despite the fact that it revolves
at 78 rpm. It has been pressed of clear vinylite with
a grainless red dye and thus surface noise it entirely
eliminated. If you have a truly high fidelity re-
producer, you may expect this disc to give you very
nearly perfect organ reproduction.

We should indeed be remiss if we did not mention
that Mr. Noehren is an organist of the first rank
and that he has the advantage of having for these
recordings a particularly fine instrument upon which
to demonstrate his art.

DICTION

The Columbia Literary Series: Great Authors Read-
ing Their Own Works. 12-12" discs plus one

descriptive book in genuine leather carrying case.
(*C-SL-190) $100.

CONTENTS: W. Somerset Maugham (The
Three Fat Women of Antibes; Gigolo and Gigolette ) .
Aldous Huxley (Brave New World — Introduction,
Linda’s Death). John Collier (M ary; De Mortuis;
Bac\ for Christmas) . Sacheverell Sitwell (Spain — An
Account of a Bull Fight, Flamenco, The Doncel,
Spanish Music, An Apotheosis of Spain; M aure-
tania — An excerpt, Sabratha; Roumanian Journey —
A description of one of the great horse fairs in the
Moldavian Plains, Roumanian Farewell). John Stein-
beck (The Sna\e; Johnny Bear). Katherine Anne
Porter (Flowering Judas — Beginning, Conclusion).

Edith Sitwell (Excerpts from A Poet's Notebook
and A Noteboo\ on William Sha\espeare and The
Canticle of the Rose and Other Poems). Christopher
Isherwood (Goodbye to Berlin — A Berlin Diary;
Prater Violet; The Condor and the Cows). Truman
Capote (Children on Their Birthdays — Beginning,
Conclusion). Edna Ferber (The Gay Old Dog —
Beginning, Conclusion). Sir Osbert Sitwell (Left
Hand, Right Hand — Introduction, Entry of the
Muses, The Sargent Group). William Saroyan
(Excerpts from Jim Dandy; Excerpts from Roc\
W agram; The Parable of the Loveliness of Faith in
God and How It Saved the Life of at Least One
Good Man — Beginning, Conclusion; Excerpt from
Don't Go Away Mad; Common Prayer).

“This series of recordings was begun on October
24, 1950, when Mr. Somerset Maugham kindly con-
sented to come to the Columbia Recording Studios
. . . begins Goddard Lieberson in his excellent
preface to this remarkable set of records. And Mr.
Lieberson goes on: “. . . part of my reason for
starting this series was, if not to frustrate death’s
capacity for stilling the tongue, at least, to inau-
gurate archives which would perpetuate the sound of
the writer’s voice and therefore a dimension of his
personality otherwise lost.”

Mr. Lieberson bemoans the fact that such voices
as those of Oscar Wilde, Marcel Proust, Henry
James, Mark Twain, Walt Whitman, et al are now
forever lost, yet the phonograph had been invented
prior to their deaths. Feeling that “. . . since the
writings of an author are an expression of his total
psychic structure, his voice too (no matter of what
quality) would express in some degree the spirit
of the written words . . . Thus it is that dulcet tones,
subtle gradations of volume, dramatic spacing, all
carefully planned and rehearsed ahead of time, play
no part in these readings," being, on the contrary,
casual and exhibiting “unvarnished reality."

We have quoted liberally from Goddard Lieber-

PAGE IE

H. ROYER SMITH COMPANY

* indicates LP 331/3 rpm.
0 indicates 45 rpm.

NOVEMBER

T he Nm; R ecords

1953

son's preface to this set in the hopes of whetting
the appetites of many of our readers. In view of
the price tag, we do not see how this set can be a
commercial success; yet a more worthy objective
could scarcely be imagined. It is hardly necessary
to add that the reproduction on these discs is above
reproach

Israel is Born. Documentary written and narrated
by Arthur Holzman. 142" disc (*CAEDMON
TO2014) $5.95.

CONTENTS: Voices of Chaim Weizmann, David
Ben Gurion, Ralph Bunche, Mohammed F. Jamali,
Sir Alan Cunningham, Moshe Sharett, Chief Rabbi
Herzog, Abba Eban, Count Folke Bernadotte, and
others.

Arthur Holzman, who was a foreign correspondent
in the Holy Land from 1947 to 1951, has written,
edited and narrated this unusual documentary record'
ing of the birth of Israel. Many of the recordings
that are included were made on the spot by Mr.
Holzman. He has done an excellent and exciting job
in producing the present recording, which is history
preserved in the modern electronic manner.

Rostand: Cyrano de Bergerac (excerpts), (in
French). Herbert Roland and supporting cast
directed by Eve Daniel. 142" disc (*PE'FRL'
1526) $5.95.

For those who have a full knowledge of spoken
French, these excerpts from Rostand's famous Cyrano
de Bergerac in its original tongue will hold great
charm. For those who would like to improve their
French diction, following this recording with the
French text which is supplied should be of great help.

VIOLONCELLO

Bach: Sonata No. 1 in G for Violoncello solo.

One side, and Bach: Sonata No. 3 in C for

Violoncello solo. Antonio Janigro (violoncello).

142" disc (*WEST'WL'5217) $5.95.

There are several recorded versions of Sonata No-
3 in C but this is the first of No. 1 in G to be
made available on LP discs. These Sonatas for urn
accompanied ’cello are sometimes known as Suites,
probably because they are made up of a half'dozen
or more short dance movements — Allemandes, Sara'
bandes, Gigues, etc. The celebrated Italian cellist,
Antonio Janigro, who is well'known to American
music lovers because of his many successful recordings
under the Westminster label, gives performances on
the present disc that should prove highly satisfactory,
even to the most critical listeners.

BOOKS OP MUSICAL INTEREST

The World's Encyclopaedia of Recorded
Music. By Francis F. Clough and G. J.
Cuming. 890 pp. Sidgwick and Jackson,
Ltd. (London). Price $17.50.

The New Catalogue of Historical Records
1 8984 908/09. Compiled by Robert Bauer.
494 pp. Published in England. For sale in
U. S. A. by H. Royer Smith Co. (Philadeb
phia). Price $7.25.

The Gramophone Shop Encyclopedia of Re'
corded Music (Third Edition) . Robert H.
Reid, Supervising Editor, 639 pp. Crown
Publishers (New York). Price $2.95.

The Victor Boo\ of Operas. Revised and edited
by Louis Biancolli and Robert Bagar.
xxiv-f-596 pp. Illustrated. Simon and
Schuster (New York). Price $5.

Victor Boo\ of Concertos. By Abraham Veinus.
xxv -f- 450 pp. Simon and Schuster (New
York). Price $3.95.

Collectors* Guide to American Recordings
18954925. By Julian Morton Moses.
Foreword by Giuseppe De Luca. 200 pp
Published by the author. Price $3.75.

I Hear You Calling Me. By Lily McCormack.
201 pp. Illustrated. The Bruce Publishing
Co. (Milwaukee). Price $3.75.

Records: 1950 Edition. By David Hall, ix -f-
524 -f- xx pps. Alfred A. Knopf (New
York). Price $6.

NOTE: All the above books have been reviewed
in previous issues of The N ew Records. If your local
dealer does not stock them, orders addressed to H.
Royer Smith Co., Philadelphia 7, Pa., will be promptly
filled. The prices quoted include postage to any point
within U.S.A.

The first letters In the record number Indicate the manufacturer: AL — Allegro, BG — Bach Guild, C — Columbia, CE — Cetra. CH — Concert
Hall Society, CL — Capitol, CSM — Colosseum, CRS — Collector’s Record Shop. D — Decca. DL — Dial, ESO — Esoteric, FEST — Festival,
FOLK — Ethnic Folkways Library, G IOA— Gregorian Institute of America, HS— Hadyn Society, L— London Gramophone. LYR— Lyrl-
chord, ME— Mercury, OC— Oceanic, OL— L’Oiseau Lyre, PE— Period, PH M— Philharmonia, PLM— Polymusic, REN— Renaissance, SOT—
Sounds of Our Times, ST R— Stradivari, UR— Urania, V— Victor, VAN— Vanguard, VX— Vox. and WEST— Westminster.

* indicates LP 331/3 rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 16

The Records

A BULLETIN FOR THOSE INTERESTED IN RECORDED MUSIC

Issued Monthly by

H. ROYER SMITH COMPANY

“The World 9 s Record Shop’’

I0TH & WALNUT STREETS .... PHILADELPHIA 7, PA., U. S. A.

VOL 21 , NO. 1 0 DECEMBER, 1 953 By mail to $1 a 0 n 0 v

I N OUR SEPTEMBER issue we reported that
Urania had issued a disc entitled “High
Fidelity Demonstration Record’' 1 (*UR-URLP-
7084, $4.17). Apparently this filled a great
need of the hi-fi enthusiast, for both Capitol
and Westminster have followed suit and issued
demonstration records of their own. And the
redoubtable Emory Cook has come through
with another of his superior records, this time
a little gem called “Speed the Parting Guest;”
he aptly subtitles this one A Hi Fi Bull in a
Chime Shop .

The Capitol disc stands out as an absolute
“must” for the audiophile. Packaged in a plio-
film envelope contained in a handsome box,
this record comes complete with a 10-page in-
sert giving full information about the contents
of the disc, what to listen for, how to be cer-
tain your set is reproducing what is on this
disc and so on; we found especially interesting
the two pages called “Fidelity and Illusion,”
written by Charles Fowler, editor of High
Fidelity Magazine.

The contents of the Capitol record are : The
Continental (Ray Anthony Orch.) ; Studies
in Percussion (Pts. I &? II) (Hal Rees) ; Fog-
horn Boogie (Dick Stabile & Orch.) ; Song from
Moulin Rouge (June Hutton with Alex Stor-
dahl & Orch.) ; Meet Mister Callaghan (Les
Paul); Quiet Village (Les Baxter 6? Orch.);
23° — 82° W (Stan Kenton & Orch); Gla-
zounov: The Seasons — Finale (French Natl.
Symphony Orch. — Desormiere) ; Bloch : Con-
certo Grosso — 1st Movement (Pittsburgh Sym-
phony Orch. — Steinberg) ; Tchaikovsky : Quar'
tet !N[o. 1 in D minor — 3rd movement (ex-
cerpts) (Hollywood String Quartet) ; Villa-
Lobos: T^onetto — Finale (Roger Wagner
Chorale & Concert Arts Ensemble — Wagner) ;
Shostakovich : Concerto in C minor — 4th move-
ment (finale) (Victor Aller, piano, with Con-

cert Arts String Orch. — Slatkin) ; Copland:
Rodeo (excerpt) (Ballet Theatre Orch. —
Levine). 1-12" disc (*CL-SAL-9020) $6.75.

The Westminster, unlike either the Urania
or the Capitol, is solely for demonstration. Both
Urania and Capitol have put whole movements
or at least “completed” excerpts on their discs.
Westminster has just given us snatches here
and there, much like the audiophile might try
to select from his library, to demonstrate a par-
ticular point or feature. Therefore, listing the
contents of this disc would have little meaning;
suffice it to say that it contains about two min-
utes of various constant tone frequencies, and
there are tympani rolls, solo piano, piano with
orchestra, violin and harpsichord, Flamencan
guitar, Gypsy violin, French horns, etc. In-
cluded with this record is a sheet giving the
equalization curve and a description of each
excerpt. 1-12" disc (*WEST-DRB) $3.50.

The Cook Sounds of Our Times record,
“Speed the Parting Guest,” has a most appro-
priate title. Drums, xylophone, sirens, tam-
bourines, a wind machine — you name it, this
has it when it comes to percussion, even to “1
Quoddyhead Horn (courtesy U. S. Coast
Guard).” We can’t imagine the guest who
could sit all the way through this one. Mr.
Cook has seen to it that this disc has the most
faithful reproduction possible — seems a pity,
though, to waste such lavish technical affection
on all this noise! 1-10" disc (* SOT- 1041) $4.

If your local dealer cannot supply any or all
of these discs, orders addressed to the publish-
ers of this bulletin will be promptly filled.
BACK COPIES

r

We are continually receiving requests for
back copies of The New Records. Most of
the issues published during the last twenty
years are available. The price is 10c each. A
file of all of the available issues (at least 140

DECEMBER

T he New lkecords

1953

copies) is $5. These prices are postpaid within
U.S.A.

NOTE: Those persons interested in recent
recordings only may secure all of the issues of
the last three years beginning December 1950
(36 copies) at the special price of $2 (postpaid
within U. S. A.)

NEW LP RELEASES

Brahms: Quintet Ho. 2 in G, Op. 11. Isaac Stern,
Alexander Schneider (violins); Milton Katims,
Milton Thomas (violas); Paul Tortelier (violon-
cello). One side, and Schumann: Quintet in E-
flat, Op. 44. Isaac Stern, Alexander Schneider
(violins); Milton Thomas (viola); Paul Tortelier
(violoncello); Myra Hess (piano). IT 2" disc
(*C-ML-4711) $5.95. (TNR Nov. ’53).

Brahms: Quartet Ho. 3 in C minor, Op. 60. Joseph
Szigeti (violin); Paul Tortelier (violoncello);
Myra Hess (piano). IT 2" disc (*C-ML-4712)
$5.95. (TNR Nov. ’53).

Brahms: Sextet Ho. 1 in B'flat, Op. 18. Isaac Stern,
Alexander Schneider (violins); Milton Katims,
Milton Thomas (violas); Pablo Casals, Madeline
Foley (violoncellos). IT 2" disc (*C-ML-4713)
$5.95. (TNR Nov. ’53).

Casals Festival at Prades (1952). (Vol. I). Festival
Soloists. 3-12" discs in album (*C-SL-182) $17.85
(TNR Nov. '53).

CONTENTS: Quintet Ho. 2 in G, Op. 11;
Quartet Ho. 3 in C minor, Op. 60; Sextet Ho. 1 in
B'flat, Op. 18 (Brahms). Quintet in E'flat, Op. 44
(Schumann)

Casals Festival at Prades (1952). (Vol. II). Festival
Soloists. 4T2" discs in album (*C-SL-183) $23.80.
(TNR Nov. '53).

CONTENTS: Quintet in C, Op. 16 3; Trio Ho. 1
in B'flat, Op. 99; Trio Ho. 2 in E'flat, Op. 100;
Sonata Ho. 5 in A, Op. 162 (“Duo”); Variations
on l ‘Troc\’ne Blumen,” Op. 160 (Schubert).

R. Strauss: Der Rosen\avalier (highlights). V.
Ursuleac, A. Kern (sopranos); G. von Milinkovic
(mezzo-soprano); G. Hann (baritone); L. Weber
(bass); Chorus and Orchestra of the State Opera
(Munich)— Krauss. M2" disc (*VX-PL-8200)
$5.95. (TNR Jan. ’53).

Handel: The Messiah (highlights). Soloists, Luton
Choral Society and Special Choir, Royal Philhar-
monic Orchestra — Beecham, with H. Dawson
(organ). 1-12" disc (*V-LCT-1130) $5.72. (TNR
Mar. '48).

ORCHESTRA

Franck: Symphony in D minor. Detroit Symphony
Orchestra conducted by Paul Paray. 1-12" disc
(*ME-MG- 50023) $5.95.

No conductor could be more welcomed before

American recording microphones than Paul Paray;
this is the third disc of his to be issued. The re-
organized Detroit Symphony Orchestra will prove
keen competition for other American orchestras on
the basis of what we have heard on these discs.
His performance of the Franck Symphony is a
masterpiece worthy of release against any of the
dozen-odd other LP's in the catalog. Without being
destructive to the score, he has injected a freshness
and excitement into the music that others have failed
to do. Particularly notable is the third and final
movement, which under Paray's direction is some-
thing magnificent. There is much clarity in the or-
chestral playing, revealing parts of the score usually
submerged in a welter of orchestral noise. This is
also praise for the playing of the Detroiters, and
their playing is deserving of the highest praise
throughout the symphony. The first two movements
are interpreted along conventional lines, but with
an urgency and inspiration often missing in other
performances. We would say this is the best Franck
Symphony thus far on LP. The reproduction is
typical of Mercury's Olympian Series, which to us
is the best series on the market. Of the two dozen
discs in this series there is not one sub-standard
item in matters of reproduction (and the perform-
ances are all worth while too). The Mercury repro-
duction is a superb balance of realistic solo instru-
ments, full orchestra sound at any volume, and good
perspective and resonance. Their smooth surfaces
never detract from their fine sound.

Little need be said of the Franck Symphony,
except to remember that its first performance was
greeted with hostility and a string of defaming ad-
jectives. It seems incredible today that this romantic
work could ever be misunderstood. Will they say
that about some of today's reviews of new music
several generations from now? S.

Mozart: Symphony No. 34 in C, K. 338. One side,
and Mozart: Symphony No. 38 in D, K. 504

(“Prague”). Chicago Symphony Orchestra con-
ducted by Rafael Kubelik. 1-12" disc (*ME-MG-
50015) $5.95.

Mozart: Symphony No. 25 in G minor, K. 183.
One side, and Mozart: Symphony No. 29 in A,

K. 201. Chamber Orchestra of the Danish State
Radio conducted by Mogens Woldike. 1-12" disc
(*HS-HSL-1055) $5.95.

Mozart: Symphony No. 40 in G minor, K. 550.
One side, and Haydn: Symphony No. 92 in G

(“Oxford”). London Symphony Orchestra con-
ducted by Josef Krips. 1-12" disc (*L-LL-780)
$5.95.

While nothing new appears on these three discs,
each is a good disc, and at least one is outstanding.
The best of the lot is easily the Mercury one of the
Chicago Orchestra under Kubelik. The discipline of
this orchestra in this recording is as high as we have
ever heard it. The “Prague” has long been one of

* Indicates U* 33 1/3 rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 2

DECEMBER

T he New Records

1953

our favorite Mozart symphonies, and we do not
recall a more enjoyable performance than this.
Nothing is overdone or pushed too hard, but it has
a tremendous amount of energy and a fine razor'
sharp precision. Such clean and perfect playing is
a joy. Kubelik has produced a reading of great
clarity and detail without making one conscious of
the effort. The reproduction is as near perfection
as one could wish. Much the same can be said for
the other side of the disc, Symphony T^o. 34 which,
like the “Prague" is a three movement work without
a Minuet. It is a light, gay, unpretentious work
with a rollicking finale that caps the whole thing
gloriously. We know of no more enjoyable Mozart
disc than this one.

The Haydn Society disc is notable for the fact
that (according to the program notes) Woldike
uses a string orchestra consisting of five first violins,
five second violins, four violas, two violoncelli and
two contrabassi (with bassoons reinforcing the bass
line). Each symphony, of course, calls also for
woodwinds and horns. Playing this after the Mercury
disc is hardly a fair thing, and we do not recommend
hearing them together. For those who like a reduced
orchestra in their Mozart, this disc is a beautiful
example. Woldike is a man of good taste and fine
style and he does these works soundly in the idiom.
The reproduction is very good.

The London Symphony Orchestra under their
regular conductor, Josef Krips, plays with style and
finish on a beautifully recorded London disc. The
Haydn “Oxford" is as good as several other LP’s
of the work and better recorded than any of them;
the Mozart 40th is up against plenty of competition,
but Krips can hold his own very well. He has an
easy Viennese touch that manages to probe the
depths of this work. The result is a fine reading.
If the coupling appeals to you, this is a good disc
from the performance and recording standpoints. S.

Hindemith: Symphonic Metamorphoses on Themes
of Weber. One side, and Schonberg: (5) Pieces
for Orchestra, Op. 16. Chicago Symphony Or'
chestra conducted by Rafael Kubelik. 1 ' 1 2" disc
(*ME'MG' 50024) $5.95.

Copland: Appalachian Spring. One side, and
Copland: El Salon Mexico. Vienna State Opera
Orchestra conducted by Franz Litschauer. M2"
disc (*VAN'VRS'439) $5.95.

Rozsa: Theme, Variations and Finale, Op. 13.

Royal Philharmonic Orchestra conducted by Mik'
los Rozsa. One side, and Rozsa: Concerto for
String Orchestra, Op. 17. London String Orches'
tra conducted by Miklos Rozsa. M2" disc (*VX'
PL'7690) $5.95.

Lovers of modern music attention! First, we have,
from a technical standpoint, one of the finest hi'fi
recordings that has come to our notice. It is the
Mercury record containing the Hindemith and Schon'
berg selections. In addition to the superb reproduc'

tion, it contains one of Hindemith’s most popular
works. It is easy to see why Symphonic Metamor'
phoses on Themes of Weber should catch the fancy
of many music lovers. It is bright, sophisticated and
abounds in pleasing melodies, and it is easily en'
joyable. However, the Schonberg (5 ) Pieces for
Orchestra, which dates from 1909 and “has a rhythm,
as the blood has its pulsating rhythm, as all life in
us has its rhythm; which has a tonality, but only
as the sea or the storm has its tonality; which has
harmonies, though we cannot grasp or analyze them
nor can we trace its themes," is definitely for those
who like to expose themselves to the unusual.

Copland’s Appalachian Spring and El Salon
Mexico are reasonably welbknown and have been
generally accepted by discerning American music
lovers. Vanguard has supplied highly satisfactory
recordings by the Vienna State Opera Orchestra
under the brilliant direction of Franz Litschauer.

The last disc in this group of three will introduce
to many record collectors the music of the Hungarian
composer, Miklos Rozsa. Before coming to the United
States in 1940, his works were well received in
Europe; and many of them were published by the
famous firm of Breitkopf and Hartel. At present
Mr. Rozsa resides in California, where he devotes his
time to teaching and comopsition. He is a member
of the faculty of the school of music at the University
of Southern California. Rozsa states that he is a
Neo'dassicist and that he has drawn heavily on the
folklore of his native Hungary for inspiration. The
samples of Rozsa’s music on the present disc we
found quite interesting and well worth a second
hearing. They are in the Hungarian idiom and
are easy and pleasant to listen to. R.

Mozart: Symphony No. 4 in D, K. 19. And Mozart:
Symphony No. 14 in A, K. 114. One side, and
Mozart: Symphony No. 10 in G, K. 74. And
Mozart: Symphony No. 11 in D, K. 84. Winter'
thur Symphony Orchestra conducted by Otto
Ackerman. M2" disc (*CH'CHS'1166) $5.95.

Mozart: Serenade in E-flat, K. 375. One side, and
Mozart: Serenade in C minor, K. 388. Wind
Instrument Ensemble of the Vienna Symphony
Orchestra. M2" disc (*VX'PL'7490) $5.95.

Mozart: Serenade in G, K. 525 (“Eine kleine
Nachtmusik”). Vienna State Opera Orchestra
conducted by Felix Prohaska. One side, and
Schubert: (5) Deutsche Tanze for Strings.
Vienna State Opera Orchestra conducted by Franz
Litschauer. M2" disc (*VAN'VRS'435) $5.95.
Of the making of many Mozart records there is
no end, and the record companies themselves are
surprised at the seemingly endless demand for them.
Such a state leads to recording of previously un'
recorded works, most of which would not be heard
at all if were not for records. The first sixteen sym'
phonies of Mozart are in this category. The Concert

PAGE 3

H. ROYER SMITH COMPANY

IndiMtM LP S3 1/8 rpm.
0 Indicates 45 rpm.

DECEMBER

1953

Xhe N ew R ecords

Hall disc is one of four which present the first six'
ten, four per record, in their first and only record'
ings. Otto Ackermann maintains a high standard
of performance and a laudable interpretive level.
These performances have enthusiasm in an honest
way that does not inflate the music beyond its true
stature. The disc is well recorded.

The Serenades, K. 375 and K. 388, are already
in the catalogs in two other recordings — each using
the same couplings. The disc by Kell and his cham'
ber group (*D'DL'9540) is different from either
of the others in that it does not have the freedom
and abandon of the Viennese players. Kell’s, is,
nevertheless, a valid and worthy pair of performances
which sound well. The Viennese grouips — the
present disc and the Wind Octet from the Vienna
Philharmonic Orchestra (*WEST'WL'5021) — have
much in common, and we find little to choose be'
tween them. It is an individual choice between Kell
and the Viennese groups, and also between the two
Viennese groups if your taste leans towards their
style. All three discs enjoy good reproduction.

The most beloved of all Mozart Serenades, and
one of his most popular works, is the Eine \leine
K[dchtmusi\. In well over a dozen LP diskings, only
a couple emerge as really decent readings. The
unaffected charm and simplicity of this work eludes
many conductors. Prohaska’s effort may be credited
to the better ones. Litschauer offers the second LP
version of the lovely Schubert German Dances, in
nicely tailored performances. Vanguard’s reproduce
tion is good, with too much treble which can easily
be compensated. S.

Bruckner: Symphony No. 9 in D minor. Pro

Musica Symphony (Vienna) conducted by Jascha
Horenstein. M2" disc (*VX'PL'8040) $5.95.

Bruckner: Symphony No. 7 in E. Three sides, and
Franck: Psyche (Symphonic Poem). Amsterdam
Concertgebouw Orchestra conducted by Eduard
van Beinum. 2' 12" discs in album (*L'LL'852/3)
$11.90.

The Bruckner Ninth Symphony, like Schubert’s,
remained unfinished. Of the last movement only
sketches survive. They indicate that Bruckner in'
tended to close his Ninth with a gigantic fugue.
It was to “the good Lord’’ that Bruckner addressed
himself in his Ninth Symphony when, at the age of
70, he felt the approach of death and sought to
express through his art, the summing up of his life
and the contemplation of last things (the symphony
was dedicated “an meinen lieben Gott’’). It is a
magnificent work for those who can sit down, relax,
and enjoy the whole work for the music it is. It is
played here in the original version, not the horribly
edited versions which are now, fortunately not being
used. Jascha Horenstein has long been a good inter'
preter of Bruckner’s music; he offers a beautiful read'
ing of this work which would be hard to surpass. The
reproduction is of fine fidelity.

The Bruckner Seventh Symphony has always been
one of our favorites of this composer’s works,
probably because of the superb second movement.
While this movement is as long as all four move'
ments of many other symphonies, it is a lovely crea'
tion. There is much in this symphony that seems to
stem from religious fervor, and many are the words
that have been written describing Bruckner’s music
as gothic edifices of sound and so forth. Eduard
van Beinum and the Concertgebouw Orchestra play
this work as profoundly as we ever recall hearing it.
The tonal quality of the orchestra is notable, with
the brasses holding up well, and the horns being of
faithful intonation. Van Beinum has the unhurried
approach to Bruckner, which may prove ponderous
in some of the symphonies, but which serves this
particular one well. We would call it the best
reading on LP, and that includes the matter of
reproduction, which London has handled with its
accustomed skill; it is one of London’s best record'
ings of the Amsterdam orchestra. Franck’s Psyche
is the fourth side filler in the album; it is played
with charming finesse by van Beinum, who omits
the choral part in this performance. S.

Shostakovitch: Symphony No. 5, Op. 47. Philhar'
monic'Symphony Orchestra of New York con'
ducted by Dimitri Mitropoulos. M2" disc (*C'
ML'4739) $5.95.

Shostakovitch: Symphony No. 5, Op. 47. Sym'
phony Orchestra of Radio Berlin conducted by
Ernest Borsamsky. M2" disc (*UR'URLP'7098)
$5.95.

In November 1952 we welcomed the first LP
recording of this work (*VX'PL'7610) by Horen'
stein, except for the Columbia transfer of its 78 rpm
recording by Rodzinski. At that time we lamented
the fact that there were rather few recordings of
Shostakovitch symphonies considering their merit.
We now have two new issues of the Fifth, probably
the greatest of all his symphonies. Both of these new
ones supercede previous recordings on the basis of
reproduction. In matters of performance, at least
one — Mitropoulos — supercedes the others. Mitro'
poulos is always at his best in modern scores, and
he has turned in no more vital and truly magnificent
reading of any work than we find in this instance.
He has a few individual touches that point up some
features rather cleverly. The whole work is ablaze
from the opening bars with an intensity that is
usually missing from recorded performances. We
cannot imagine anyone not getting a real thrill from
this disc. The music is exciting and the performance
unflaggingly underlines all the excitement. Colum'
bia’s reproduction is distinguished for clarity and
power, and plenty of power with clarity is a very
desirable asset in this work.

If it were not for our being so impressed with
Mitropoulos, we would have more to say about
Borsamsky and his effort, for it is indeed a valiant

* Indicates LP 831/3 rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 4

DECEMBER

T he Records

1953

one of many merits. Borsamsky, give and take a little,
is the equal of the previous recordings, but to our
ears he does not match Mitropoulos. The Urania
reproduction is very hi'fi; on our set it is a bit thin
and shrill, but on some players this may not be true.

It would seem, by now, that the days of contro'
versy about ShostakovitclTs Fifth Symphony should
be past. Whatever the side issues may be, the music
emerges as a dynamic work of originality, great
strength, and also of brilliant wit. This stirring
music has a positive attitude, a firm belief in life,
and an admirable balance between poignant melodies
and passages of flashing brilliance. It stands solidly
in the line of famous “Fifth” symphonies by the
greatest composers. S.

Strauss: Waltzes and Polkas. Pittsburgh Symphony
Orchestra conducted by William Steinberg. IT 2"
disc (*CL'P'8222) $5.70.

CONTENTS: Acceleration Waltz; Adele Waltz;
Emperor Waltz; Pizzicato Pol\a; Perpetuum Mobile;
Tritsch'Tratsch Pol\a; Annen Pol\a; Champagne
Pol\a; Thunder and Lightning Pol\a.

Strauss: Waltzes. Mantovani and His Orchestra.
M2" disc (*L'LL'685) $5.95.

CONTENTS: Blue Danube; Voices of Spring ;
Roses from the South; Village Swallows; 1001
Nights; Treasure Waltz; Emperor Waltz; Wine,
Women and Song; Acceleration; Tales from the
Vienna Woods; Tou and You; Morning Papers.

Strauss Miniatures. Columbia Broadcasting Sym'
phony Orchestra conducted by Howard Barlow.
M2" disc (*C'RL'3020) $2.98.

CONTENTS: SeraiVTanze (Reconstructed — Fi'
lippi); Explosions Pol\a (Reconstructed — Filippi);
Electrofor Pol\a, Op. 297; Festival' Quadrille; Paro'
xysmen Walzer; Motoren Walzer; Ballg schichten
Walzer; Telegraphische Depeschen; Champagner
Pol\a; Schnellpost Pol\a.

Johann and Josef Strauss Polkas. Vienna State
Opera Orchestra conducted by Anton Paulik.
M2" disc (*VAN'VRS'438) $5.95.

CONTENTS: Vergniigungszug; Leichtes Blut;
Frei\ugeln; Unter Donner und Blitz; Tritsch'Tratsch;
Annen; Eljen a Magyar (Johann Strauss). Feuerfest;
Frauenherz; Aus der Feme ; Ohne Sorgen (Josef
Strauss). Pizzicato Pol\a (Johann & Josef Strauss).

The public never seems to get enough of Strauss
recordings! Here are four more LP discs containing
a vast number of selections. Three of them are
good examples of “high fidelity” reproduction —
the Columbia recording by Howard Barlow was
made before “hi'fi” came into the picture; however,
despite its age it sounds very good and is a good value
at its low price.

Stravinsky: Pulcinella Suite. Symphony Orchestra
of Radio Berlin conducted by Arthur Rother.
One side, and Respighi: Antiche Danze ed Arie
per Liuto (Suite No. 3). Chamber Orchestra of
Radio Berlin conducted by Matthieu Lange. LI 2"
disc (*URTJRLP'7093) $5.95.

Stravinsky: Apollon Musagete (ballet). One side,
and Stravinsky: Pulcinella Suite. Vienna Chamber
Orchestra conducted by Heinrich Hollreiser. IT 2"
disc (*VX'PL'8270) $5.95.

Of the two recordings of Stravinsky's Pulcinella
Suite we prefer the Urania version. The performance
and the reproduction both seem superior to us.
If you do not have a recording of the Respighi
selection on the reverse side, then we strongly sug'
gest that you choose the Urania disc. If you do,
then it will have to up to you to weigh the matter
and make your own decision.

Newman: The Robe (Music from the Film). Holly'
wood Symphony Orchestra and Chorus conducted
by Alfred Newman, with Carole Richards (alto).
M2" disc ( *D'DL'9012) $5.85.

One of the biggest hits on the screen in recent
months is the 20th Century'Fox production of The
Robe. Alfred Newman supplied the musical score
for this outstanding film and he has selected parts
of it for this recording which he has directed per'
sonally. For those who have seen the picture this
recording may mean much, and those, who will
follow it with the comprehensive notes that Philip
Dunne, the author of the screen play, has supplied,
may find it interesting; but others, we should think
would find it to be too much of a good thing.
During the picture, we found the music highly
dramatic and it aided greatly in pointing the story,
but forty minutes of it without the picture was a bit
too much for us.

Beethoven: Concerto No. 3 in C minor, Op. 37.

Rudolf Serkin (piano) with the Philadelphia
Orchestra conducted by Eugene Ormandy. IT 2"
disc (*C'ML'4738) $5.95.

A short while ago we reviewed a new Beethoven
Third Concerto performed by Iturbi and did not
care very much for it. At that time we again extolled
the merits of the Lili Kraus disc (*VX'PL'7270),
which has been our preferred reading. With this new
one by Serkin and Ormandy, the Kraus disc is
really challenged. Serkin is well known as a per'
former of Beethoven, and is considered one of the
best in that field. His reading of the Third could
do little but uphold his reputation, for it is a splendid
statement of the score. There is no question about
the style, and Serkin leaves no doubts about precise
technical execution. There are none of the loud

PAGE 5

H. ROYER SMITH COMPANY

Indicates LP S3 1 /3 rpm.
0 Indicates 45 rpm.

DECEMBER

The New R ecords

1953

turns and other annoying mannerisms of the Iturbi
playing. As for the accompaniment by Ormandy
and the Philadelphians versus soloist Iturbi conduct'
ing the RCA Victor Orchestra, there is everything in
favor of the orchestral portion of Serkin’s disc.
Columbia has achieved a fine balance between solo
instrument and orchestra, as well as a nice quality
of piano tone. For those who own the Kraus disc,
there is no need to regret it or consider a change;
for those who are about to add this masterwork
to their library, a hearing of both Kraus and Serkin
is indicated, and well worth while. The choice of
the existing LP’s of the Third is clearly between
these two versions.

Although it was composed in 1800, the Third
Concerto was not performed until 1803. Beethoven
was thoroughly aware of the great strides he had
made in this work over the two earlier ones, and
he delayed its publication until 1804, a year after
its performance, so that he and no other might,
for a time, be the one to perform it. “Musical policy
necessitates keeping the best concertos to oneself
for a while," he wrote his publishers. Things have
changed; we doubt whether any contemporary com'
posers would figure it that way. Times have also
changed in the matter of concert programming. The
first performance of the Third took place in Vienna
with the composer as soloist. The program also
included Beethoven’s first two symphonies and his
oratorio The Mount of Olives. S.

Rachmaninoff: Concerto No. 2 in C minor. Edith

Farnadi (piano) with the Vienna State Opera

Orchestra conducted by Hermann Scherchen.

M2" disc (*WEST'WL'5193) $5.95.

Edith Farnadi, born in Budapest, began piano
studies at the age of 7 years at the Budapest
Academy. With a debut as a child prodigy at 9,
she progressed continually, playing the Beethoven C
major Concerto at 12 (directing the orchestra from
the piano), and receiving her diploma at 17. During
her studies at the Academy she won the Franz Liszt
prize twice. From the time she received her diploma
she became a professor at the Academy, where she
remained until 1942. Since then she has concertized
widely all over Europe. During her student days
she had been a partner with the great violinist,
Hubas, and played many times with Hubermann.

Miss Farnadi’s playing in the Rachmaninoff Con'
certo ?V[o. 2 is something undeniably great. Techni'
cally, she is of the first rank, and she has a goodly
amount of power — power of good quality, not
pounding. Her dynamic range is exceptional, which
is, in turn, part of her interpretive assets. Miss
Farnadi plays this work with a richly romantic style
that goes the limit without becoming maudlin or
destructive to the score. We thoroughly enjoyed
her performance of the work. We believe this per'
formance would have been one of the best on
records, were it not for the detracting influence of

conductor Scherchen, particularly in the first move'
ment. His idea of the music is maudlin, and we
rather imagine his idea prevailed over the soloist.
She seems to have won a small victory in the second
and final movements. Westminster’s reproduction
is superb in every respect.

There are numerous other LP’s of this work,
ranging from the authoritative though feebly repro'
duced version by the composer himself, through
readings by Sandor, Smith, Rubinstein, and Katchen,
to the brilliant performance by Kapell. Most persons
will find it a choice between Kapell or Farnadi. S.

Tchaikovsky: Concerto No. 1 in B-flat minor, Op.

23. Shura Cherkassky (piano) with the Berlin

Philharmonic Orchestra conducted by Leopold

Ludwig. M2" disc (*D'DL'9605) $5.85.

Whatever may be said of a new version of the
Tchaikovsky Concerto ?^o. 1 at this point would
hardly be as interesting as to say that this one is
something entirely new and different. In all our
listening experience we cannot recall ever having
heard a performer take an overworked and thread'
bare piece such as this and make it sound like some'
thing new and great. The remarkable thing is that
he has done this by disregarding former virtuoso
notions of the music and beginning from scratch in
a brand new type of thinking. The result is a more
faithful exposition of the music as written than we
have previously heard. As is so often the case when
an interpreter comes up with a fresh slant on the
music, it stems from a slower tempo. Where most
pianists race through the work, Cherkassky adopts
a more logical, even tempo, which results in fewer
tempo changes and excessive rubatos. It is difficult
to describe in detail just what Cherkassky has done,
but it can be said that from the very start, right
through to the final pages, he has re'evaluated the
whole work. The result is easily the most enjoyable
performance in our memory, and the outstanding
feature of the whole effort is that the music is more
beautiful.

Cherkassky was born in Odessa, Russia, in 1911.
He received his early musical training from his
mother, who was herself a concert pianist. Follow'
ing his emigration to America, Cherkassky studied
at the Curtis Institute in Philadelphia under the
world'renowned pianist, Josef Hofmann. We would
imagine that some of the artist’s remarkable thinking
is a product of his studying under Hofmann. As far
as his technique is concerned, it is of the very best;
you never heard more beautiful passage work, as
pearly and smooth as possible. And his dynamic
graduations are superb, with fortissimo effects that
have tone, and are not pounded out.

Leopold Ludwig is in line for a good share of
praise in this effort. His accompaniment is as beauti'
ful as the soloist’s performance. There are orchestral
details heard for the first time in this recording. We
urge anyone who has ever liked this work to hear

* indicates LP S3 1/3 rpm.
0 Indicates 46 rpm.

H. ROYER SMITH COMPANY

PAGE 6

DECEMBER

The Nm Records

1953

this unusual performance, which is also a fine bit
of reproduction. S.

Dvorak: Concerto in A minor, Op. 53. One and
one-half sides, and Gliere: Romance for Violin
and Orchestra, Op. 3. David Oistrakh (violin)
with the State Orchestra of the USSR conducted
by Kiril Kondrashin. 1-12" disc (*VAN-VRS-
6016) $5.95.

David Oistrakh has become something of a
legendary figure in this country via his recordings.
Certainly it is a capable technician that emerges
from this disc; but it is difficult to judge his musician-
ship from a concerto such as the Dvorak, for it is
essentially a virtuoso piece (Joachim had a consider-
able part in shaping the final version) and as such
receives “the treatment."

The general lines of this recorded performance
follow the traditional manner; in fact, unless the
soloist decides to be plain arbitrary, there is little
else he can do — it is not great music in the sense
that the violin concerti of Beethoven or Sibelius
are — it is more in the Tchaikovsky-Glazounov class.

Admirers of the concerto will probably already
have purchased the Milstein version on RCA Victor,
so it remains for the enthusiasts of Oistrakh’s style
to buy this disc which, incidentally, has a dividend
in the form of Reinhold Gliere's Romance for Violin
and Orchestra, a melodious, if somewhat innocuous,
effusion, but played superbly.

Kiril Kondrashin keeps a firm hand on the orches-
tral forces and, considering the “eminence” of the
soloist, even on the whole performance. The quality
of the recorded sound, while better than most USSR
efforts, is still below average as we expect it in this
country. W .

Conus: Concerto in E minor. Three sides, and
Chausson: Poeme, Op. 25. Jascha Heifetz (violin)
with the RCA Victor Orchestra conducted by
Izler Solomon. 3-7" discs in box (0V-WDM-
7017) $3.99. 1-10" disc (*V-LM-7017) $4.67.
NOTE: For review of this disc see under VIOLIN.

CHORAL 444

Berlioz: Lelio; or, The Return to Life, Op. 14b.

(Sung in German, French and Italian.) (Pt. II
of “Symphonie Fantastique”). Joachim Kerol
(tenor), Gabriel Bacquier (baritone), Orchestra
and Chorus of the New Paris Symphony Associa-
tion conducted by Rene Leibowitz, with Andre
Charpak (narrator). 1-12" disc (*VX-PL-8250)
$5.95.

It was on 9 December 1832 that Berlioz, just
returned from his stay in Italy (required under the
provisions of the Prix de Rome scholarship) was
able to present this work which he pieced together
from some earlier compositions too good to be
abandoned, as a sequel to his Symphonie Fantistique.
Lelio; ou, le Retour de la Vie is cast in the form

of a “melologue,” a procedure he borrowed from
Thomas Moore, the Irish poet; later editions, how-
ever, describe it as a “lyric monodrama. Lelio
consists of six musical movements separated by six
monologues; the musical portions may be described
as follows: (1) a ballad with pianoforte accompani-
ment (This is Goethe’s poem Der Fischer which
Berlioz set to music in 1827); (2) a meditation for
chorus and orchestra (The Choeur des Ombres from
the prize cantata Cleopatre written in 1829); (3) a
scene from brigand life for chorus, single voice and
orchestra (originally thought to be a Pirate Song
written in 1828); (4) A song of happiness for single
voice with orchestral accompaniment at beginning
and end and in the middle the right hand of a harp
accompanying the air (the Chant de Bonheur
originally in the Orpheus cantata dating from 1827);
(5) the last sighs of the harp for orchestra alone
(La Harpe eolienne — souvenirs); and (6) the over-
ture to The Tempest for chorus, orchestra and
piano for four hands ( Fantasie stir la Tempete de
Shakespeare written in 1830).

This magnificent music is joined together by the
six monologues that range over such subjects as
“the delights of a life of freedom; the evanescence
of happiness, the magical effects of the sounds of
Nature, the genius of Shakespeare and the sins of
critics who damn or rearrange masterpieces.
(Barzun).

In the limited space at one’s disposal in these
columns it is impossible to do justice to the extra-
ordinary conception that was Berlioz . The per-
formance under Rene Leibowitz is a convincing one.
Joachim Kerol, the tenor soloist, while not the pos-
sessor of a great voice, sings his two solos with real
feeling and genuine musicianship. The chorus,
especially in the Tempest section, is superb. The
recording is good and the texts are supplied.

Because this disc contains some of the most
unique music ever written, it must be borne in mind
that Berlioz’ creation must be approached in com-
plete sympathy and understanding before it will
reveal its many beauties and its unique character.
The record is certainly a must for all Berliozians,
for those who own the Symphonie Fantastique and,
as Berlioz himself wrote, in another connection,
“for all who have ... a heart and blood in their
veins.” W.

Dubois: The Seven Last Words of Christ. (Sung
in Latin). Margo Stagliano (soprano); Carl
Nelson (tenor); Mac Morgan (baritone); the
Boston Chorale conducted by Willis Paige, with
Reginlad Foort, playing the organ at Symphony
Hall (Boston). 1-12" disc (*SOT-1094) $5.95.
This is a long awaited -first LP recording of
Francois Dubois’ cantata Trie Seven Last Words of
Christ. Long a popular favorite with church choirs
over the country, this corner looked forward with
considerable interest to the performance and the

PAGE 7

H. ROYER SMITH COMPANY

* indicates LP 331/3 rpm.
0 indicates 45 rpm.

DECEMBER

The Nm R ecords

1953

recording.

It was with a feeling of growing disappointment,
however, that one. listened to the performance. The
first fact that became apparent was that this produc'
tion is a singularly undramatic one. Neither soloists
nor conductor Paige give any sense of immediacy
to the work; nor is there any real conviction on the
part of the chorus. Now, Dubois’ cantata can not
survive such cavalier treatment for, despite its wide
popularity, it is not great music; consequently more
importance than usual is attached to the interpret ive
qualities evinced in a given performance.

The soloists have excellent voices. Miss Stagliano
exhibits a clear, lyric soprano that falls pleasingly on
the ear. Mac Morgan, the baritone, is also a sure
vocalist, as is Carl Nelson. None, however, sing
with any degree of expression, the chief offender
being, perhaps, Morgan, to whom falls one of the
plums of the score, Deus meus (God, my Father )
which he sings in most commonplace fashion.

Considerable mention is made on the jacket about
both performance and recording — there are notes
as low as 16 cycles per second, and so far as the
performance is concerned, everything was supposed
to have “clicked” in exemplary fashion. Well, cer'
tainly the bass portion of the disc is very well done,
but the high end left a lot to be desired. This re'
viewer played the disc on reasonably “hi'fi” equip'
ment (GE pick'Up with diamond stylus; Brociner
front end; Williamson'type power amplifier; Bozak
speakers) and there was an edgyness about the voices
that was unpleasant.

Taken by and large the disc was both a musical
and a technical disappointment; and the fact that it
is sung in Latin does not help matters any. W.

English Medieval Carols and Christmas Music.

The Primavera Singers of the Pro Musica Antiqua
of New York directed by Noah Greenberg. 1'12"
disc (*ESO'ES'521) $5.95.

CONTENTS: Nowell sing we; Ave Maria; Gloria
and Alleluia; Lullay lullow; What tidings bringest
thou, messenger 1; Marvel not, Joseph, on Mary
mild; Alma redemptoris Mater; Ma\e we joy now
in this fest; Nowell, Nowell, tidings true; Sancta
Maria; Hail, Mary, full of grace; Ave Rex angelorum;
Tibi laus, tibi gloria; Beata progenies; Nova, nova.
Morley: Madrigals. The Primavera Singers of the
Pro Musica Antiqua directed by Noah Green'
berg, with Blanche Winogron (virginals). IT 2"
disc (*ESO'ES'520) $5.95.

CONTENTS: Sing we and chant it; Cease, mine
eyes; Now is the month of maying; Barafostus *
dreame (virginals); Miraculous love's wounding;
Now is the gentle season freshly flowering; Galiarda
(virginals); I go before, my darling; Lady, those
cherries plenty; Phyllis, I fain would die now; My
bonny lass she smileth; Lo, she flies when I woo her;
Irishe dumpe (virginals); Leave this tormenting and
strange anguish; Goe from my window (virginals);

Clorinda false, adieu, thy love torments me; Can shee
(virginals); Fire! fire! my heart!

With new LP records being released fast and
furiously, it is likely that these two discs, issued with
little fanfare, might be overlooked in the general
hoopla. So, at the very outset it must be mentioned
that anyone interested in old music will find them
a must, while those who have not yet made the
acquaintance of the Elizabethan madrigal nor Renais'
sance music are urged to investigate.

The first record, devoted to English Medieval
Carols and Christmas music is a perfectly delightful
experience. There are some fifteen selections re'
corded, the majority of which can be ascribed to
no known composer; Dunstable and his contem'
porary, Lionel Power, are the only two exceptions.
The notes emphasize the fact that these polyphonic
carols are not primitive efforts to harmonize old
folk melodies but are “fully developed examples of
a fine contrapuntal technique written at a time when
England was among the musical leaders of the
world.” It can be further noted that they are as
characteristic of England's musical genius as the
much better known Elizabethan madrigals.

It is the Elizabethan madrigal, as exemplified in
the work of the great Thomas Morley (1557T603),
that occupies the second record. There are some
fourteen madrigals recorded here, including the
famous Fire! fire! my heart!; Sing we and chant it;
and Now is the month of maying. These and the
other madrigals are interspersed with interludes on
the virginals, making the disc a real concert of 16th
century music. Listening to these madrigals, one can
almost experience the intensity of the period, can
almost feel, as Charles Morgan wrote, “the Eliza'
bethan’s terror of youth’s departure and to partici'
pate in that exquisite insanity of passion that gave
. . . their lyrics (such) a charged melancholy.”

These two records are the work of the New York
Pro Musica Antiqua, an ensemble specializing in
music of this era. It is perfectly done, the spirit,
style and over'all atmosphere leave nothing to be
desired. In addition there are adequate notes, texts
and superior recording — all of which make them
particularly desirable additions to a welbrounded
record library. W.

Orff: Carmina Burana (Pt. I of “Trionfi”). (Sung
in Latin and in Medieval German). Elfride
Trotschel (soprano); Paul Kuen (tenor); Hans
Braun, Karl Hoppe (baritones); Bavarian Radio
Orchestra and Chorus conducted by Eugen Jo'
chum. M2" disc (*D'DL'9706) $5.85.

The music, if not the name, of Carl Orff (1895'
) will, in all likelihood, be new to most
American phonophiles. He has been described, by
Henry Pleasants, as one of “the most radical and

* Indicates LP 83 1/S rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 8

DECEMBER

The N^z£/ R £cords 1953

. . . reactionary of contemporary composers.” Orff’s
sources are, however, not those of the twelve'tonists
or anything remotely resembling them; rather he
goes back to musical antiquity, to Gregorian Chant,
to Greek and even Oriental music. It is not, how'
ever, “an effort at imitation, but rather a search
for the essential elements of music.”

Carmina Burana is the first part of the tryptich
“Trionfi” and was first produced at Frankfurt in
1937. It consists of three sections: In Springtime; In
the Tavern and The Court of Love. There is a
sort of prologue, Fortune, Empress of the World
which is also used as a reprise. The other parts of
the tryptich, Catulli Carmina and Trionfo di A frodite
date from 1943 and 1951 respectively. The “book”
of twenty'five poems for Carmina Burana was
selected from a remarkable collection of 13th century
poetry found in 1803 at the Bavarian monestary,
Benedictbeuren. The poems were written by a group
of anonymus minstrels, goliards, errant students
and defrocked monks, a motley, antisocial crew,
who apparently had little respect for honor or pos'
sessions, but were devoted to play, women, wine,
quarreling and fighting.

The musical settings for these twenty'five lyrics
constitute some of the most remarkable modern
music this reviewer has ever heard. The music of
Carmina Burana shows the influence, primarily of
“Gregorian Chant and the songs of troubadors and
minnesingers.” The orchestration is extremely inter'
esting with its varied syncopations and old fash'
ioned intervals and somewhat bizarre effects as, for
example, the wonderful dance movement that has
a section scored for flute and tympani. The work
is melodious throughout and interest never flags —
on the contrary this writer found it fascinating.

The Bavarian Radio Orchestra, Chorus and soloists
under Eugen Jochum give what may be considered
a definitive performance. The soloists include Elfride
Trotchel, who sings in an incredibly beautiful
fashion, particularly in the amazing Dulcissime ; bari'
tones Braun and Hoppe who do well, indeed; and
a strange tenor (whom one suspects of singing,
deliberately, in a weird falsetto) who sounds like
an alto. The chorus bears the brunt of the work and
is a beautifully trained organization that sings ex'
pressively and with rare precision.

The recording has been deftly accomplished and,
while not screamingly high fidelity, is very success'
ful. English texts are furnished as well as an all
too brief note on Orff and his work. W.

Massenet: Werther (complete). (Sung in French).
Agnes Leger (soprano); Suzanni Juyol (mezzo'
soprano); Charles Richard (tenor); Roger Bourdin
(baritone); Chorus and Orchestra of the Theatre
National de l’Opera'Comique de Paris conducted
by George Sebastian. 3' 12" discs in album (*UR'
URLP'233) $18.50.

A prized possession of many record collectors (the

writer included) for a number of years was the
French Columbia complete recording of Massenet’s
Werther. The cast included Ninon Vallin (an in'
comparable Charlotte) and Georges Thill in the
title role. In anticipation of this new LP release,
the old set was dusted off and the high spots (duet
end of act one, the aria Pourquoi me revieller and
the last act among other portions) were played.
It still was superb interpretively but sounded a little
thin in tonal quality.

It came, then, as an unpleasant surprise to dis'
cover that Urania’s new recording was, artistically
speaking, very inferior. That it would be less
successful from a vocal standpoint is understandable
but what one did not expect was the routine, almost
offhand, performance achieved by Sebastian and his
cast. Admittedly Massenet’s score is not great music;
admitted, too, is its dependence on top flight singers;
but it is difficult to realize it could sound so false,
so scented, so lacking in any semblance of reality.
Werther’s agonizing is scarcely bearable in this per'
formance and Charlotte’s “prissiness” is equally
disturbing.

Charles Richard in the title role is weak — he is
unable to realize any part of the character except
the pathological self'pity of the (save the mark!)
hero. Vocally he is wooden with a tendency to force
his upper register. Suzanni Juyol is an unconvincing
Charlotte. Her voice is rather hard and a bit over'
sophisticated for the little country girl she is sup'
posed to portray. Agnes Leger is a light soprano,
inclined to be a bit shrill and is, at times, far too
“cute” as Sophie. Others in the cast are adequate
but uninspired.

George Sebastian does little to help matters. His
direction is pedestrian, and he makes nothing of the
orchestral portions of the score which contain some
real “purple patches” after the manner of Berlioz.
Good recording, a complete libretto and some notes
on the artists only serve to accentuate the set’s musical
and artistic failings. W.

Schubert: Der hausliche Krieg (complete). (Sung
in German). Soloists, Akademie Kammerchor and
Pro Musica Symphony (Vienna) conducted by
Ferdinand Grossman, l'l 2" disc (*VX'PL'8160)
$5.95.

Here is a musical and phonographic rarity — an
opera by Franz Schubert. It has always seemed
strange, at least superficially, that Schubert, the com'
poser of many dramatic songs, was never successful
in the operatic field. Der hausliche Krieg (originally
Die V erschworenen) is one of eighteen operas he
wrote and was completed in 1825. The libretto is
a hash made up from two comedies of Aristophenes’,
one of which is the famous Lysistrata, the author
of the outrage being Ignaz Franz Castelli. Time,
places and characters have been shuffled about in a
manner that defies description; for example Lystritata
becomes a German baron’s wife!

The music for all this, fortunately, has not been

PAGE 9

H. ROYER SMITH COMPANY

Indicates LP 33 1 /S rpm.
0 indicates 45 rpm.

DECEMBER

1953

"The N ew Records

tainted by the foolishness of the book and is pure,
lyrical Schubert: curiously undramatic but delicate
and lovely. The cast of singers is in no way excep'
tional, the best being Elisabeth Roon. Ferdinand
Grossmann keeps his forces under control and moves
the score along in musical fashion.

One comes away from the record with the sort
of feeling that was expressed by Mozart so poignantly
when he said, on being paid for some dances he
wrote, “Too much for what I did, too little for
what I could do.’” The complete absence of informal
tion about the edition used in the recording (the
notes do mention the existence of four versions)
plus the omission of the text make the disc worth
something less than the asking price. With adequate
information it could be a highly enjoyable and in'
formative musical experience. Vox's recording is
good. Truly this release is almost as much a mixture
of good and bad as is the opera itself. W.

Charpentier: Louise (abridged). (Sung in French).
Ninon Vallin, Christiane Gaudel (sopranos); A.
Lecouvreur (mezzo ' soprano) ; Georges Thill
(tenor); Andre Perner (baritone); Raugel Chorus
and Orchestra conducted by Eugene Bigot. 2' 12"
disc in album (*C'EL'7) $7.57. (TNR May ’36).

Verdi: Falstaff (complete). (Sung in Italian). Pia
Tassinari, Ines Alfani Tellini, Aurora Buades
(sopranos); Rita Monticone (mezzo'soprano) ;
Robert d’Alessio, Giuseppe Nessi, Emilio Vem
turini (tenors); Giacomo Rimini, Emilio Ghirar'
dini (baritones); Salvatore Baccaloni (bass);
Chorus and Orchestra of La Scala (Milan) con'
ducted by Cav. Lorenzo Molajoli. 2' 12" discs in
album (*C'EL'8) $7.57. (TNR Nov. ’36).

Massenet: Manon (complete). (Sung in French).
Germaine Feraldy (soprano); Joseph Rogatchew'
sky (tenor); Louis Guenot (bass); Soloists, Chorus
of the Opera'Comique (Paris) and Symphony
Orchestra conducted by Elie Cohen. 3' 12" discs
in album (*C'EL'6) $10.55.

Columbia issues this month, in a somewhat off'
hand manner, three operas from its old operatic series:
Louise (in an abridged version made by the obliging
composer), Manon and Falstaff. The off'handedness
consists in Columbia’s neglect to identify the singers
with their roles and the complete absence of any
explanatory note concerning the music. Now, at
these low prices one should not expect too much;
but, while it is admittedly an old'fashioned idea,
this reviewer was brought up on the principle that
anything worth doing was worth doing well. Even
at the risk of have to charge an additional fifty
cents, some explanation and identification would be
well worth while.

Of the three sets the Louise is the best from a
vocal standpoint. A trio of singers comparable to
Vallin, Thill and Pernet would be difficult to find
today. Their singing of Charpentier’s chief claim

to fame is definitive. One would be hard put to
imagine a performance that captures the flavor and
idiom of the work as well as this one does. It is
decidedly worth owning.

Falstaff suffers from its early recording. The old
discs do not sound too good in their LP dress; and,
while the performance is an excellent one (Rimini
as Falstaff and Tassinari as Mistress Ford are very
good), it is well nigh impossible to tolerate the
muddy sound in these days of so much greater
fidelity.

M anon features the singing of the late Germaine
Feraldy in the title role and Josef Rogatchewsky as
des Grieux. The performance, like so many made
in the early thirties, is really a fine one (they took
pains with both performance and recording in those
days) but the sound has grown very old indeed.

All these sets have libretti, nothing more. All,
with the exception of Louise, will be of interest
primarily to antiquarians or bargain hunters, despite
their artistic excellence. Anyway, there is a passable
Falstaff (on Cetra) and a pretty good M anon (Lon'
don) and, one strongly suspects, a new Louise will be
in the offing soon. W.

Stravinsky: The Rake’s Progress (complete). (Sung
in English). Soloists, Chorus and Orchestra of the
Metropolitan Opera Association conducted by
Igor Stravinsky. 3' 12" discs in album (*C'SL'125)
$17.85.

THE CAST

Anne Trulove Hilde Gueden (s)

Baba the Turk Blanche Thebom (c)

Tom Rakewell Eugene Conley (t)

Nick Shadow Mack Harrell (bt)

Mother Goose Martha Lipton (ms)

Trulove Norman Scott (bs)

Sellem, Auctioneer Paul Franke (t)

Keeper of the Madhouse. . .Lawrence Davidson (bs)

In view of the fact that The Ra\e’s Progress has
been performed more than two hundred times since
its premiere in Venice on 11 September 1951, the
leading critics on both sides of the Atlantic have
had ample opportunity to appraise this work; most
of them have written at length about this controver'
sial new opera. The trend of the criticism that we
have read seems to be that The Race’s Progress is
“old hat’’ and not very good “old hat’’ at that.
It is thought that Stravinsky looked back to Handel
and Mozart without fully grasping the technique of
these early operatic composers and has produced
a very uneven score, some of which is almost urn
singable. Robert Craft, who has supplied the copious
notes that accompany this recording, is doubtless
aware of this unfavorable criticism and has at'
tempted to answer it in the section of his notes
marked “An Appreciation of the Music.’’ Whether
he has answered it satisfactorily each music lover
must decide for himself.

* indicates LP 331/3 rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 10

DECEMBER

The Nw R ecords

1953

In a foreword to the notes, Stravinsky indicates
that he is satisfied to rest the case with this recording,
for he writes: “The chief value of a recording to
the composer is in the fact that it is a ‘record,’ a
document of his wishes respecting his own music.”

No pains have been spared to make this recording
as fine as possible both musically and technically; we
doubt very much whether a better performance of
this work has been given than the one that has been
recorded on these LP discs. Here is The Race’s
Progress with its best foot forward; its popularity
among record collectors is in your hands.

Verdi and Mozart Arias. Ezio Pinza (bass) with

RCA Victor Orchestra. 4'7" discs in box (0V'

WDM'1751) $5.14. M2" disc (*V'LM'1751)

$5.72.

CONTENTS: Don Carlo — Ella giammai m’amo
(recit.), Dormiro sol nel canto mio regal (aria);
Simon Boccanegra — A te l’estremo addio (recit.),
II lacerato spirito (aria); Ernani — Che mai vegg’io!
(recit.), Infelice! e tu credevi (aria); J\[abucco —
Vieni, o Levita! (recit.), Tu sul labbro dei veggenti
(aria); I Vespri Siciliani — O patria (recit.), O tu,
Palermo (aria); Don Giovanni — Madamina, il cata'
logo; Don Giovanni — Deh, vieni alia finestra; Don
Giovanni — Finch’ han dal vino; Le K[ozze di Figaro —
Non piu andrai; Le ?s[ozze di Figaro — Se vuol bah
lare; Die Zauberflote — Possenti Numi; Die Zauber'
flote — Qui sdegno non s’accende.

Ezio Pinza returns to the RCA Victor label with
an impressive collection of Verdi and Mozart arias
that serve to demonstrate the qualities that have
made him one of the most popular artists ever to
sing in this country. These arias are all well sung,
by any standards, and Mr. Pinza’s voice has with'
stood the ravages of time and South Pacific very
well indeed.

This reviewer had considerable curiosity concern'
ing the Don Carlo and Vespri Siciliani for they were
among the first selections Pinza recorded in this
country and they were released back in the dear dim
days of 1926. Still having the discs, the writer did
what might have been an ungenerous thing — he
played it right after the current LP and, while almost
thirty years have elapsed, Pinza still has an amazing
amount of voice left and, what’s more, he is much
more of a “smoothie” than in the old days.

The actual style of singing hasn’t changed, ah
though some of the tempi are faster. Whether this
is due to our generally increased speed of living or,
as is sometimes the case, they were quickened to
make for easier singing is difficult to say. In all
events, the Verdi arias emerge as welhconsidered,
slightly understated but exquisitely sung perform'
ances. Most successful are the Simon Boccanegra and
K[abucco excerpts although the Ernani and Vespri
Siciliani pieces have lost none of their charm.

The Mozart numbers are also highly successful,
a sparkling Madamina, an almost crooned Serenata

(very effective, this) and a rousing Finch ’ han dal
vino lead the parade. The J^ozze di Figaro excerpts
are a bit on the heavy side and lacking in humor.
The two arias from Zauberflote are good but not
especially distinguished. Orchestral support for the
Verdi is superbly handled by Erich Leinsdorf while
the Mozart accompaniments are in the expert hands
of Alfred Wallenstein.

This is one of the best discs yet issued of Ezio
Pinza’s art and should receive a warm welcome from
his legion of admirers. W.

Celebrated Tenor Arias. Richard Tucker (tenor)

with the Orchestra of the Metropolitan Opera

Association. M2" disc (C'ML'4750) $5.95.

CONTENTS: La Traviata — De’ miei bollenti
spiriti; Andrea Chenier — Come un bel di di maggio;
L’Africana — O Paradiso; Faust — Salut! demeure;
L'Elisir d' Am ore — Una furtiva lagrima; La Boheme —
Che gelida manina; Carmen — Air de fleur; La Gio'
conda — Ceilo e mar; Un Ballo in M aschera — Forse
la soglia attinse (recit.), Ma se m’e forza perderti
(aria).

This sort of record always offers a problem to
this reviewer. Obviously it is aimed at a particular
market: the admirers of Richard Tucker; and since
the writer can not be numbered among this group,
he is hard put to be impartial or dispassionate. Thus,
one can begin by saying that Tucker fans will have
cause to rejoice, for the celebrated tenor is in good
voice and is well recorded.

Musically the nine arias are all of a piece. There
is no difference between his singing of Salut!
demeure, chaste et pure and the very different Air
de fleur. A complete lack of understanding of the
situation or an inability to project the feeling of the
words characterizes most, if not all, of the per'
formances recorded here — which, incidentally, is the
reason this reviewer can not be numbered among
Mr. Tucker’s admirers. As a case in point, listen
to the sobbing and gulping in the exquisite Una
furtiva lagrima. It is sung in the opera by Nemorino,
who has chanced to see a tear on the cheek of Adina,
his sweetheart who, for operatic reasons, has been
very cool towards him until she learns he is going
to join the army. Now, the tear is Adina’s, not
Nemorino’s, but what happens? Tucker sings the
aria as if the tear were his own, with sundry gulpings
and goings on. It is difficult to understand why
either Mr. Tucker or the conductor was not able
to get it straight. It can only be assumed that here,
as has been the case all too frequently before, no one
was interested. Incidentally, neither Fausto Cleva
nor Emil Cooper provide other than routine orches'
tral support.

Which brings us back to- the beginning — this is a
record for those partial to Richard Tucker. Others
are advised to look elsewhere for good performances
of these popular, but none the less great, operatic
arias. W.

PAGE II

H. ROYER SMITH COMPANY

indicates LP 331/3 rpm.
0 indicates 45 rpm.

DECEMBER

1953

^he ^New R ccords

Puccini: Manon Lescaut (complete). (Sung in
Italian). Clara Petrella (soprano); Vasco Cam'
pagnano, Tullio Pane, Tommaso Soley (tenors);
Ortensia Beggiato (meszo'soprano); Saturno Me'
letti (baritone); Pier Luigi Latinucci, Mario An'
selmi, Piero Poldi (bases); Chorus and Orchestra
of Radio Italiana conducted by Federico del
Cupolo. 3 ' 1 2 " discs in album (*CE'C'1243)
$17.85.

This is the second LP version of Puccini's M anon
Lescaut, although it is the first actually to be made
for LP. The earlier version, a dubbing from older
78's, was issued by Columbia and noted in a
previous issue of The New Records (August
1951).

Naturally, this newer recording takes precedence
over the earlier one from a technical angle. Vocally
it is certainly the equal and, in some instances,
superior to the older set. In the title role Clara
Petrella gives a fine performance. Her welhplaced
lyric soprano is equal to all ocacsions, and she also
demonstrates her extra'musical abilities by showing
considerable insight into the character of the un'
happy Manon. As her lover, the Chevalier des
Grieux, Vasco Campagno proves to be a better than
average tenor who, even in the impassioned Guar'
date, pazzo son, guardate! does not lose sight of
the fact that he is a singer first and an actor second —
in short, he does not gulp and indulge in foolish
histrionics. As Manon's brother, Saturno Meletti
gives a good account of both the role and himself,
while others in the long cast are usually more than
adequate.

Federico del Cupolo's direction, while not as
fervent as Molajoli's in the early Columbia set, is,
none the less, a very sound job; and the performance
gains by his allowing Puccini's fresh and youthful
score to speak, as it were, for itself.

This is the first operatic set issued by Cetra under
the aegis of Capitol records. It is a very good
beginning, and one is glad to note that the policy of
supplying an excellent libretto along with notes and
pictures has been retained. W.

Songs of Duparc. Gerard Souzay (baritone) accom'
panied by Jacqueline Bonneau (piano). 1 ' 1 2 " disc
(*L'LL'813) $5.95.

CONTENTS: Le Manoir de Rosemonde; La
Vague et la Cloche; V Invitation au Voyage; Sere'
nade Florentine; La Vie Anterieure; Chanson Triste;
Testament; Lamento; Phidyle; Soupir; Extase; Elegie.

Henri Duparc (1845T933), whose career was
cut short at the age of thirty'seven by a nervous
illness, left only fourteen songs, twelve of which are
recorded here. Although he lived until 1933, the
last forty'eight years of his life were nonproductive,

being spent in the country as a semi'invalid. As the
annotator of the jacket notes very aptly points out,
. . few composers have achieved immortality with
so slender an output." In addition to the fourteen
songs, however, Duparc wrote an orchestral nocturne,
a symphonic poem and a threepart motet, none of
which, however, are very well known. Thus admirers
of Duparc's art will welcome this recording that
contains virtually his whole output. Of the two songs
omitted, one is for female voice ( Au pays ou se fait
la guerre ) and the other, Le Galop was supressed
by Duparc and only published after his death.

The earliest of the twelve recorded here are the
famous Chanson Triste and Soupir; both date from
1868. The last, in point of composition, is the equally
well known La Vie Anterieure (1884). All Duparc's
chansons are notable for their typical French lyricism
and for the extreme criticism to which he subjected
them. One is reminded of another French artist,
Flaubert, who is said to have spent days polishing
a sentence or phrase. Some of Duparc's music also
bears the stamp of Franck's overweening musical
personality in their elaboration for its own sake.
". . . broken chords and tremulandos fill in spaces
that had better been left empty . . . (and) the works
take on a grandiose, quasi'orchestral air."

Souzay, of course, sings the songs in a manner
that calls for the highest praise. Both vocally and
interpretively it would be difficult to conceive of
better performances. Jacqueline Bonneau proves, as
usual, a superb accompanist. Good recording, excel'
lent notes are supplied but no texts, the latter a
serious omission, particularly in this instance where
the words are of the utmost importance. W.

Jenkins: Seven Dreams. Bill Lee, supporting cast,
the Ralph Brewster Singers and orchestra con'
ducted by Gordon Jenkins. 1'12" disc (*D'DL'
9011) $5.85.

Decca says: "Here is a unique and startling
achievement ... a complete seven'part show written
and produced wholly for records ... it is enter'
tainment of the highest Broadway calibre conceived
especially for home enjoyment."

Gordon Jenkins, whose "Manhattan Tower" was
quite a sensation when it was released a few years
ago, has conceived a much more ambitious produc'
tion this time. "Seven Dreams," with dialogue, lyrics
and music all by Mr. Jenkins, consists of seven
varied fanciful episodes, some whimsical, some hu'
morous, and one or two with a sentimental pull at
the heartstrings. Quite an able cast of actors and
vocalists, headed by Bill Lee as The Dreamer, bring
each of these episodes to life. Despite the high ability
of the cast, this could be a pretty dull affair if it
were not for the wide variety of the sketches and
the spontaneity of each of them.

We don’t wish to infer that Mr. Jenkins has
created a great dramatic or musical masterpiece, but
he has produced a recording for home entertainment

* indicates LP 8S1/S rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 12

DECEMBER

The Nw R ecords 1953

that should have a wide appeal, especially among
those who like original musical sketches and playlets
on the radio and television. R.

Jussi Bjoerling in Song. Jussi Bjoerling (tenor)
accompanied by Frederick Schauwecker (piano).
4'7" discs in box (0V'WDM'1771) $5.14. M2"
disc (*V'LM'1771) $5.72.

CONTENTS: Die Forelle, Op. 32; Die Allmacht,
Op. 79, No. 2; Stdndchen (No. 4 of “Schwanen'
gesang’’); Wanderers J^lachtlied No. II, Op. 96,
No. 3; Die hose Farhe (No. 17 of “Die schone Mub
lerin’’) (Schubert). Die M ainacht, Op. 43, No. 2
(Brahms). Es muss ein W underhares sein (Liszt).
Verborgenheit (Wolf). A Swan, Op. 25, No. 2; A
Dream, Op. 48, No. 6 (Grieg). Stdndchen, Op. 17,
No. 2; Morgen, Op. 27, No. 4 (R. Strauss). Svarta
Rosor, Op. 36, No. 1 (Sibelius). Tonerna (Sjoe'
berg). Lilacs, Op. 21, No. 5 (Rachmaninoff). Ideale
(Tosti).

A Song Recital. Kirsten Flagstad (soprano) accom'
panied by Edwin McArthur (piano). 4'7" discs
in box ( 0V'WDM' 1738) $5.14. M2" disc (*V'
LMT728) $5.72.

CONTENTS: Frauenliebe und Leben, Op. 42
(Schumann). An die M usi\, Op. 88, No. 4; Gany'
med (Schubert). Von ewiger Liebe, Op. 43, No. 1;
O wusst' ich dock den Weg zuruc\, Op. 63, No. 8
(Brahms). Ich liebe Dich, Op. 37, No. 1; Ruhe,
meine Seele, Op. 27, No. 1 (R. Strauss). At Parting
(Rogers). Morning (Speaks). We Have Turned
Again Home (McArthur). When I Have Sung My
Songs (Charles).

Two of the better'known Scandanavian operatic
artists undertake to issue lieder recitals this month,
with mixed results.

Jussi Bjoerling is very definitly out of his element.
His recital begins with a positively grotesque per'
formance of Schubert’s Die Forelle that is taken at
top speed, the sooner to get it over with, presumably.
Other Schubert songs, while they do not suffer the
fate of the poor trout, are not well sung. The mag'
nificent Die Allmacht is plainly monotonous on this
record, which it is not when it is sung by an under'
standing artist. Bjoerling’s weaknesses as an operatic
tenor (i.e., a lack of color and an inability to convey
expression vocally) are intensified on this disc. Curb
ously, when he treats a song operatically, as he does
Sibelius' Svarta Rosor the result is more exciting but
it still is not good lieder singing. This is definitely
a record for admirers of the Swedish tenor, not for
devotees of the lied.

Mme. Flagstad, on the other record, works her
way through Schumann, Schubert, Brahms, Strauss
and a group of Americans in a vocally impeccable
fashion. Of her glorious voice it is unnecessary to
speak; of her manner of singing lieder it need only
be noted that she is able to divorce herself from
the operatic manner, to the greater success of the
songs. The Schumann cycle is beautifully sung and

the two Schubert lieder are handled gracefully.
Brahms and Strauss are temperamentally more suited
to Mme. Flagstad and they are sung with warmth
and understanding. As for the songs of Rogers,
Speaks and company — well, they are always sung
at recitals, and so they are included here. One wishes
the space had been devoted to other material.

Both discs are well recorded. The Flagstad disc has
a jacket full of completely irrevelant notes about
the artist, not a word about the music. Fie on
RCA Victor for such lack of consideration for the
purchaser — or maybe only Flagstad admirers are
supposed to buy the record, in which case is one
to assume the music is of no importance? W.

Great Arias from Bach Cantatas (Pt. I). Hildegarde
RosshMajdan (alto) with orchestra. One side,
and Great Arias from Bach Cantatas (Pt. II).
Hugues Cuenod (tenor) with orchestra. V 12"
disc (*BG'BG'526) $5.95.

CONTENTS: (Pt. I) Easter Oratorio — Saget,
saget mir geschwinde; Cantata No. 63 — O sel’ger
Tag!; Cantata No. 133 — Getrost es fasst ein heil’ger
Leib; Cantata No. 161 — Der schluss ist schon
gemacht . . . Komm, dii susse Todesstunde. (Pt. II)
Cantata No. 21 — Wie hast du dich, mein Gott . . .
Bache von gesalznen Zahren; Cantata No. 46 — So
klage du, zerstorte Gottesstadt; Cantata No. 21 —
Erfreue dich, Seele; Cantata No. 104 — Der hochste
Hiiter . . . Verbirgt mein Hirte sich zu lange.

The Bach Guild has selected a group of arias for
both alto and tenor voices from its complete record'
ings of these Bach cantatas and placed them on
the present LP disc. In addition to Bach enthusiasts,
this record should of particular interest to soloists
who are studying these great works.

Liszt: Hungarian Rhapsodies. Edith Farnadi (pia'
no). 2' 12" discs in album (*WEST'WAL'213)
$11.90.

Liszt: (8) Hungarian Rhapsodies (Vol. I). Edith
Farnadi (piano). M2" disc (*WEST'WL'5230)
$5.95.

CONTENTS: Hungarian Rhapsodies No. 1 hi E,
No. 2 in C'sharp minor, No. 3 in B'flat, No. 4 in
E'flat, No. 5 in E minor, No. 6 in D'flat, No. 7 in
D minor, No. 8 in F'sharp minor (“Capriccio’’).

Liszt: (7) Hungarian Rhapsodies (Vol. II). Edith
Farnadi (piano). M2" disc (*WEST'WL'5231 )
$5.95

CONTENTS: Hungarian Rhapsodies No. 9 in
E'flat (“Carnival de Pesth’’), No. 10 in E (“Pre'
ludio’’), No. 11 in A minor, No. 12 in C'sharp
minor, No. 13 in A minor, No. 14 in F minor
(“Mohac’s Field’), No. 15 (“Rakoczy March’’).
Here we have the first fifteen of the famous Liszt

PAGE 13

H. ROYER SMITH COMPANY

indicates LP 331/3 rpm.
0 indicates 45 rpm.

DECEMBER

The Nm Records

1953

Hungarian Rhapsodies played with just the proper
spirit by the Hungarian pianist, Edith Farnadi. It
is true that Liszt wrote twenty of these engaging
pieces but only the first fifteen, which were com'
posed between 1851 and 1854, are included in most
editions of the famous pianist’s works. The 16th
through the 19th are of interest only to students of
the composer’s style in his last years, and the 20th
remains unpublished. If you are interested, but feel
that fifteen would be too much of a good thing, these
discs may be purchased separately as indicated above.

Chopin: Waltzes (complete). Ania Dorfmann
(piano). 4'7" discs in box (0V'WBC'1O5O) $2.98.
M2" disc (*V'LBC'1050) $2.98.

Chopin: (24) Preludes, Op. 28. Friedrich Gulda
piano). M2" disc (*L'LL'755) $5.95.

RCA Victor offers a fine bargain in its recording
of the Chopin Waltzes by Ania Dorfmann under
its modestly priced “Bluebird Classics’’ label. London
offers American music lovers the opportunity of
comparing the recording of the Chopin Preludes, Op.
28 by the brilliant young pianist, Friedrich Gulda,
with the many recorded versions now available by
such big name artists as Arrau, Brailowsky, Novaes,
and Rubinstein.

Chausson: Poeme, Op. 25. Three sides, and Conus:
Concerto in E minor. Jascha Heifetz (violin) with
the RCA Victor Orchestra conducted by Izler
Solomon. 3'7" discs in box (0V'WDM'7O17)
$3.99. MO" disc (*V'LM'7017) $4.67.

Chausson: Poeme, Op. 25. One side, and Ravel:
Tzigane. Christian Ferras (violin) with l’Orchestre
National de Belgique conducted by Georges Se'
bastian. And Honegger: Sonata for Violin Solo.
Christian Ferras (violin). LI 2" disc (*L'LL'762)
$5.95.

There are numerous LP recordings of Chausson’s
famous Poeme, Op. 25 and certainly Heifetz’s version
rates with the best. Of particular interest to us
was the splendid recording of the seldom heard
Conus Concerto which occupies the reverse side of
the Heifetz disc . . . Jules Edwardovich Conus
(usually spelled Konius) was the least famous of
three brothers (Gregory, Jules and Lev) who were
quite important in the musical life of Russia during
the last quarter of the 19th century and the first
quarter of the present century. Jules was a successful
violin virtuoso and wrote much music of merit for
his instrument. By far the most important work is
the present concerto, which seemingly appealed to
Mr. Heifetz, because he has given several per'
formances of it and has chosen to record it. It will
doubtless be entirely new to most Americans. We
found it quite delightful and do not hesitate to
recommend it to those music lovers who are inter'

ested in adding to their libraries recordings of un'
usual and worthwhile items.

DICTION

This I Believe. The Personal Philosophies of 10

Living Americans and 10 Immortals, with com'

mentary by Edward R. Murrow. 2' 12" discs in

folder (*C'SL'192) $11.90.

CONTENTS: The voices of Bernard Baruch,
Helen Hayes, Ralph Bunche, Charles H. Percy,
Mrs. Marty Mann, Eleanor Roosevelt, Louis B.
Seltzer, Helen Keller, Will Durant and Carl Sand'
burg. The philosophies of the following (with por'
traying actor’s name in parentheses) : Socrates (Barry
Jones), Abraham Lincoln (Raymond Massey), Flor'
ence Nightingale (Katharine Cornell), Confucius
(Hu Shih), Franklin D. Roosevelt (Franklin D.
Roosevelt, Jr.), Queen Victoria (Helen Hayes), Ben'
jamin Franklin (Jose Ferrer), Will Rogers (Will
Rogers, Jr.), Marie Curie (Eve Curie), Gandhi (S.
Radhakrishnan).

Lack of space precludes complete discussion of
this pair of LP discs, a job we would love to do.
Edward R. Murrow has demonstrated, here, why
he has rightfully gained fame for bringing to us the
unusual — the unexpected — and doing it in a way
which will capture the attention of all who hear
or see him.

Mr. Murrow, with the able assistance of editors
Raymond Gram Swing and Ward Wheelock, has
captured for us exemplary bits of the philosophies
of ten living Americans and ten “immortals.’’ All
of the imortals are welhknown (even though their
philosophies may not be); and most of the living
Americans are, too. One might not know, however,
that Charles H. Percy was elected president of Bell
and Howell Co. at the age of 33, and in 1949 was
voted one of the ten outstanding young men in the
country by the Junior Chamber of Commerce; or
that Mrs. Marty Mann, once an alcoholic herself,
helped found the National Committee on Alcoholism
and was the first woman member of Alcoholics,
Anonymous. Louis B. Seltzer is the editor of the
Cleveland Press (ScrippS'Howard) and in 1951 he
received the award of the National Conference of
Christians and Jews for his 30 years spent in promot'
ing better relations among all races and religions.

The title of this set derives from the name of Mr.
Murrow’s radio program, This I Believe, now broad'
cast 2400 times a week and heard by 39 million
people the world over; the program brings persons
from every walk of life to the microphone to tell,
in less than 600 words, their personal philosophies
of life — the beliefs on which they lean to see them
through crises or those that teach them how to con'
duct themselves when they are triumphant. Follow'
ing the success of the radio show, in 1952 Mr.
Murrow selected 100 scripts from the program and

* indicates LP 331/8 rpm.
0 indioetaa 45 rpm.

H. ROYER SMITH COMPANY

PAGE 14

DECEMBER T he NtfZP RflPftfr 1953

put them in a book, also entitled This I Believe
(Simon & Schuster, New York); it became a best
seller (non-fiction) second only to the Bible.

More than the printed page, the voice of the
philosopher transmits that certain something to his
words which instills confidence in the hearer; and
because of this, we have nothing but praise for these
records. They are thought-provoking; one need not
agree with the beliefs expressed to derive benefit
from them. This is one of the very few non-
dramatic recordings which one would like to play
over and over again. J.

Shakespeare: Romeo and Juliet (complete). The
Old Vic Company. 3-12" discs in album (*V-LM-
6110) $17.16.

DRAMATIS PERSONAE

We must, however, warn those who are not
familiar with Murder in the Cathedral and know
Mr. Eliot only through his recent most successful
play The Coc\tail Party, that they are very different;
and because you were thrilled with the latter is
no indication that you would be at all interested in
the former. Murder in the Cathedral is a purely
religious play and was designed to be given in the
chancel of a church; in fact it has been given in
various churches both here and in England.

In view of the fact there is practically no action
in Murder in the Cathedral it is an ideal play to
present on records. Little is lost in not seeing the
characters; Eliot’s inspired text needs no costumes,
scenery or lighting effects; it is well able to stand
alone if it is well read as it is by the fine cast that
has made the present recorded version. R.

Paris

Romeo

Mercutio

Benvolio

Tybalt

Friar Laurence

Peter

Juliet

Nurse

..John Warner
. . . .Alan Badel
. . . . Peter Finch
.William Squire
Laurence Payne
. . Lewis Casson
. .Newton Blick
. . Claire Bloom
. .Athene Seyler

Fast upon the heels of the fine recording of Mac*
beth by the Old Vic Company (*V-LM-6010) comes
this splendid reading of Romeo and Juliet. Certainly
young students of Shakespeare today have a great
advantage. In our student days the printed page was
cold and colorless; our professor had to use all of
his ingenuity to arouse our interest. Today things
are different; such recordings as those by the Old
Vic Company bring these masterpieces to life. The
characters spring from the text and become real
living persons, and the great joy of it all is that
we may command them to perform whenever we are
in the mood to hear them.

Eliot: Murder in the Cathedral. Old Vic Company.
2-12" discs (*ANG-3 5043/4) $9.90. 2-12" discs
in deluxe factory-sealed album (*ANG-3505B)
$11.90.

T. S. Eliot’s first complete play Murder in the
Cathedral was commissioned to open the festival
in Canterbury Cathedral in 1935. Since that time
it has had many productions; one of the most famous
was Robert Helpmann’s production by the Old Vic
Company with Robert Donat in the role of Arch-
bishop Thomas Becket. It is this superb version that
has been recorded and is now being made available
in this country under the Angel label.

Ever since Robert Speaight made a recording
of the Sermon on Christmas Morning from this play,
shortly after its first production, there has been an
insistent demand for a complete recording. We are
happy to say that the present recorded version is a
thoroughly adequate one and should meet the pent-up
demand most satisfactorily.

ORGAN

Organ Music by Modern Composers. Richard Ell-
sasser, playing the organ of the John Hays Ham-
mond, Jr., Museum, Gloucester (Mass.). 1-12"
disc (*MGM-E-3064) $4.85.

CONTENTS: En Bateau (Bartok); Prelude and
Fugue on a Theme by Vittoria (Britten); Proces'
sional (Cowell); Episode (Copland); Sonata ?s [o. 2
(Hindemith); Le Banquet celeste (Messiaen); Pas-
torale (Milhaud); Pastorale on a Christmas Plain'
song (Thomson); Chorale 'Prelude on the Welsh
Hymn “ Hyfridol ” (Vaughan Williams).

The catalog of organ music is being rapidly en-
larged through the efforts of MGM, and they are
presenting music previously unrecorded. Most of
the organ works which Ellsasser records are the type
heard on recital programs today. The disc at hand,
one of a projected series, contains several works
frequently programmed by the leading organists.
All in all this a very worthy collection. The Hinde-
mith Sonata is getting to be rather popular with
organists, although audiences are not yet placing it
on their hit list. It is a well-written piece of music,
but you have to be a musician to derive much
pleasure from it. Britten’s work and Cowell’s Pro-
cessional complete one side of the disc. The second
side we found much more interesting. Bartok’s En
Bateau is a humorous work depicting the seasickness
he suffered on an ocean voyage. Copland’s Episode
and Milhaud’s Pastorale, as well as Virgil Thomson's
Pastorale are from the H. W. Gray Contemporary
Organ Series, and they are fine short works of real
substance. Milhaud’s piece preserves the identity of
the composer — it is in his style just as his orchestral
works are all stamped with his hallmark.

Olivier Messiaen’s Le Banquet celeste is a favorite
work with organists who pTay this modern master’s
music. Messiaen is one of the most individual of
modern French composers, who has written mostly
for organ, although his V Ascension has been re-

I

PAGE IE

H, ROYER SMITH COMPANY

* indicates LP 331/S rpm.
0 indicates 45 rpm.

DECEMBER

The N ew Records

1953

corded by Stokowski, and is a fine orchestral work.
Messiaen is a mystic, and his music usually bears
titles from the liturgy of the Roman Catholic
Church or from the writings of the saints. The title
of the work recorded here refers to * the celestial
banquet of the Holy Communion." Ellsasser’s per-
formances are all laudable, and MGM has captured
the range of this great organ with exceptional fidelity.
A disc to be recommended to all organ enthusiasts.

S.

BAND

Christmas Carols. Deutschmeister Band conducted
by Julius Herrmann. 1-12" disc (*WEST-WL-
5300) $5.95.

CONTENTS: God Rest Ye, Merry Gentlemen;
Har\! The Herald Angels Sing; Good Christian Men
Rejoice; It Came upon a Midnight Clear; Good King
W enceslas; O Come, All Ye Faithful; From O’er the
Hills of Far Judea; The First Noel; Joy to the World;
Away in a Manger; We Three Kings of Orient Are;
O Little Town of Bethlehem ; O T annenbaum; Silent
Night, Holy Night; Wassail, Wassail; Dec\ the
Halls.

Here are sixteen Christmas carols, most of them
thrice familiar, done in a lugubrious manner by the
Deutschmeister Band, by now firmly ensconced in
the roster of Westminster’s artists. Personally, we
prefer our carols sung; however, we hasten to state
that if you think you might like to hear some played
by a large brass band, Mr. Herrmann and his men
should please you, for their artistry is impeccable
and their taste above reproach.

CHILDREN

Barab: A Child’s Garden of Verses. Russell Oberlin
(counter-tenor) with instrumental accompaniment
directed by Seymour Barab. 1-10" disc (*ESO-
ESJ-5) $4.

An Elizabethan Songbag for Young People. Pro

Musica Antiqua directed by Noah Greenberg.
1-10" disc (*ESO-ESJ-6) $4.

Here are two lovely records for children of
superior intelligence. The first contains Stevenson’s
charming little poems set to music by Seymour Barab
and pleasingly sung by Russell Oberlin with piano
accompaniments and other accompaniments consist-
ing of the piano plus various woodwinds. The second
record contains some fifteen rounds and madrigals
from the period of Elizabeth I sung by a mixed sex-
tette unaccompanied. These vocal selections are in-
terspersed with short pieces played on virginals and
recorders.

BOOKS OF MUSICAL INTEREST

The World's Encyclopaedia of Recorded
Music. By Francis F. Clough and G. J.
Cuming. 890 pp. Sidgwick and Jackson,
Ltd. (London). Price $17.50.

The N[ew Catalogue of Historical Records ,
1898' 1908/09. Compiled by Robert Bauer.
494 pp. Published in England. For sale in
U. S. A. by H. Royer Smith Co. (Phila-
delphia). Price $7.25.

The Gramophone Shop Encyclopedia of Re'
corded Music (Third Edition) . Robert H.
Reid, Supervising Editor, 639 pp. Crown
Publishers (New York). Price $2.95.

The Victor Boo\ of Operas. Revised and edited
by Louis Biancolli and Robert Bagar.
xxiv+596 pp. Illustrated. Simon and
Schuster (New York). Price $5.

Victor Boo\ of Concertos. By Abraham Veinus.
xxv + 450 pp. Simon and Schuster (New
York). Price $3.95.

Collectors' Guide to American Recordings ,
1895-1925. By Julian Morton Moses.
Foreword by Giuseppe De Luca. 200 pp.
Published by the author. Price $3.75.

I Hear You Calling Me. By Lily McCormack.
201 pp. Illustrated. The Bruce Publishing
Co. (Milwaukee). Price $3.75.

Records: 1950 Edition. By David Hall, ix +
524 + xx pps. Alfred A. Knopf (New
York). Price $6.

NOTE: All the above books have been reviewed
in previous issues of The New Records. If your local
dealer does not stock them, orders addressed to H.
Royer Smith Co., Philadelphia 7, Pa., will be
promptly filled. The prices quoted include postage
to any point within U.S.A.

The first letters in the record number indicate the manufacturer: AL— Allegro. ANG — Angel, BG — Bach Guild. C — Columbia, CE — Cetra,
CH — Concert Hall Society, CL — Capitol, CSM — Colosseum, CRS — Collector’s Record Shop, D — Decca, DL — Dial, ESO — Esoteric, FEST —
Festival, FOLK — Ethnic Folkways Library, GIOA — Gregorian Institute of America, HS — Haydn Society, L — London Gramophone, LYR —
Lyrichord, ME — Mercury, OC — Oceanic. OL — L’Olseau Lyre, PE — Period, PH M — Philharmonia, PLM — Polymusic, REN — Renaissance,
SOT— Sounds of Our Times, ST R— Stradivari, UR— Urania, V— Victor, VAN— Vanguard, VX— Vox, and WEST— Westminster.

* indicates LP 83 1 /3 rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 16

The Nm R ecords

A BULLETIN FOR THOSE INTERESTED IN RECORDED MUSIC

Issued Monthly by

H. ROYER SMITH COMPANY

“The World’s Record Shop ”

I OTH & WALNUT STREETS .... PHILADELPHIA 7, PA., U. S. A.

VOL 21, NO. 1 1

JANUARY, 1954

By mail to any address
$1 per year

A LTHOUGH it is limited, there is a lively
• demand for recordings of bird songs.
A new LP disc entitled ‘'Bird Songs of Door-
yard, Field and Forest” has recently come to
our attention. It contains 135 distinctive songs
and calls of 49 different species. The price is
$7.95.

These recordings were made by Jerry and
Norma Stillwell, a couple who have been inter-
ested in birds since early childhood. In 1948
Mr. Stillwell retired as Chief Technical Editor
for the American Petroleum Institute and the
Stillwells sold their home and car, bought a
truck, house trailer and the best of sound re-
cording equipment; and since that time, travel-
ing from state to state, they have built up one
of the finest and largest collections of bird song
recordings available anywhere. The present
12-inch LP disc contains a choice selection of
these. A running commentary, we presume by
Mrs. Stillwell, adds greatly to the interest of
this highly illuminating record in the realm of
nature study.

Several years ago the Laboratory of Orni-
thology, Cornell University, issued an album
of 78 rpm records entitled “Voices of the
Night.” It contained calls and songs of a great
variety of frogs, toads and tree frogs. As the
recordings were most successfully accomplished,
this album has been in great demand among
those interested in this phase of nature study.
Now a revised version of this album, contain-
ing additional material, is now available on a
12-inch LP disc. It is called “Voices of the
Night” ( 33 J /3 rpm). The price is $6.75.

If these records are not available from your
local dealer, orders sent to the publishers of this
bulletin will be promptly filled.

BACK COPIES

We are continually receiving requests for
back copies of The New Records. Most of

the issues published during the last twenty
years are available. The price is 10c each. A
file of all of the available issues (at least 150
copies) is $5. These prices are postpaid within
U.S.A.

NOTE: Those persons interested in recent
recordings only may secure all of the issues of
the last three years beginning January 1951
(36 copies) at the special price of $2 (postpaid
within U. S. A.).

ORCHESTRA

Italian Classical Symphonists. Italian Chamber Or-
chestra conducted by Newell Jenkins. 6-12" discs
in box (*HS-HSL-C) $36.35.

CONTENTS:

Albinoni: Concerto for Orchestra in D minor, Op. 5,
No. 7; Corelli: Concerto Grosso No. 2; Sammar-
tini: Violin Concerto No. 2 in C; Sammartini:
Symphony in G. (*HS-HSL-74) $5.95.

Sammartini: Cantata No. 5 for Fridays in Lent
(with soprano, contralto, tenor). (*HS-HSL-75)
$5.95.

Pergolesi: Orfeo (with tenor); Cambini: A ndro'
maque (with soprano); Galuppi: Overture No. 2.
(*HS-HSL-76) $5.95.

Giordani: Piano Concerto; Valentini: Oboe Con'
certo; Brunetti: Symphony in C. (*HS-HSL-77)
$5.95.

Viotti: Concerto for Piano and Violin in E'flat;
Brunetti: Symphony in G minor. (*HS-HSL-78)
$5.95.

Rosetti: Horn Concerto in E'flat; Boccherini: Sym-
phony in F, Op. 35, No. 4. (*HS-HSL-79) $5.95.
This set of six discs, devoted to the music of the
Italian Classical Symphonists, is one of the greatest
achievements of the phonograph to date. These rec-
ords not only fill one of the biggest lacunae in the
recorded repertoire, but they are so logically arranged
and so expertly chosen that one is taken, as it were,
on a personally conducted tour of eighteenth century
musical Italy and introduced to each composer. To
be sure, some other works by a few of the composers

JANUARY

T he N^ze; Records

1954

represented have been recorded elsewhere; but it
never has been possible to get the perspective that
is available here.

It is manifestly impossible, unfortunately, in the
limited space at one’s disposal, to enter into any
detailed discussion. Certain items are of paramount
interest, however, such as the Sammartini Cantata,
which is not available in any printed edition what'
soever. Sammartini was also one of the young
Mozart’s teachers and even proud Leopold spoke of
the honor of having him as a friend. This great
man’s music is an ever constant source of delight,
revealing new beauties on each playing. The same
characteristics are evident to a greater or lesser de*
gree in all the other music in the collection; and
special mention must be made of the two Brunetti
symphonies and the superb double concerto of Viotti.

As an example of the care exercised in preparing
the set, the Giordani Concerto is a case in point.
The piece was first played on a harpsichord, then
on a piano; it was decided that its musical values
were better suited to the latter instrument, and it
was so recorded. Such care and honesty on the part
of a recording company is virtually unprecedented.
The concerto, by the way, is flawlessly played by
Carlo Bussotti.

The various soloists, both vocal and instrumental,
are all technically competent and artistically sincere
— an extremely happy circumstance which demon'
strates that when proper care is exercised, a group
of musicians can still be found who will take pride
in their work. As for Newell Jenkins, the artistic
and musical director of the enterprise, one can only
offer up hallelujahs for him — he has done an inesti'
mable service for music lovers, whether they be
scholars or the common garden variety. His com'
mentaries on the jackets are models of their kind;
informative, concise and honest.

Haydn Society’s engineers have come up with a
virtually flawless recording job — crystal clear and
exquisitely proportioned sound. It might also be
noted that the discs are available individually, but
it is a safe bet that once a single record is purchased
the buyer will not rest until he has the complete set.
Haydn Society, with the release of this set and its
two counterparts, the Bach Clavierubung and Master'
pieces of Music before 17 SO, has established itself
as the most intelligent and really musical producer
of records the industry has ever seen. One sincerely
hopes they will receive the support they deserve so
they may continue to demonstrate their unique taste
and artistic conscience. W.

Sibelius: (4) Legends for Orchestra, Op. 22.

Danish State Radio Symphony Orchestra con'

ducted by Thomas Jensen. LI 2" disc (*L'LL'
843) $5.95.

Less than a year ago Columbia issued the first
recording of the complete Lemmin\dinen Suite,
which comprises the Four Legends, Op. 22 contain'

ing the well known Swan of Tuonela. The Columbia
disc (*C'ML'4672) was played by The Philadelphia
Orchestra under Ormandy and, as you can easily
imagine, that is a tough one to beat in music such
as this. Jensen and the Danish orchestra do not beat
them, although the Danes’ effort is a valiant one.
The Danish State Radio Orchestra is a fine group,
but the polish and unique tone of the Philadelphians
lends an atmosphere to this music which makes this
situation one of the nicer things about LP duplica'
tions — you can choose the better of two fine record'
ings. The reproduction is about even between the
two discs, so their is no marked preference on that
score. Interpretively, Ormandy can hold his own
with Jensen, or anyone else, in this music. We
preferred Ormandy’s thrilling account of No. 4
Lemmin\dinen’s Return.

This suite is in four sections, played in this order:
Lemmin\ainen and the Virgins from Saari (No. 1),
The Swan of Tuonela (No. 3), Lemmin\ainen in
Tuonela (No. 2), and Lemmin\dinens Return (No.
4). In order of composition, “Swan” came first; it
was written in 1893 as the prelude to an opera
“The Building of the Boat” based on a passage from
the Kalevala. The opera remained unfinished, but
the prelude was revised in 1896 and again in 1900.
The other Legends were composed in 1895 and
revised in 1896, while No. 4 was again revised in
1900. The first and second items remained in manu'
script, and were discovered a few years ago among
the effects of the famous Finnish conductor, Robert
Kajanus; but long before that time the third and
fourth had established a firm place in the concert
repertoire. It is interesting to note that the order
in which these are played has been suggested by
Sibelius as the best, although it differs from the
order shown by opus number, which we included
in parentheses above. S.

Liszt: A Symphony to Dante’s "Divine Comedy”
(1856). L’Orchestre de l’Association des Concerts
Colonne conducted by George Sebastian. LI 2"
disc (*UR'URLP'7103) $5.95.

Liszt: A Symphony to Dante’s "Divine Comedy”
(1856). Vienna Philharmonia Orchestra and
Vienna State Opera Chorus conducted by F.
Charles Adler. LI 2" disc (*SPA'44) $5.95.

The LP horn of plenty must necessarily result in
many duplications, and so it is hardly strange that
the long neglected Dante Symphony of Liszt now
appears in its second and third recordings just two
months after Decca released the initial recording by
Alfred Wallenstein and the Los Angeles Philhar'
monic (*D'DL'9670). We had high praise for Wah
lenstein’s performance in the November 1953 issue
of TNR, at which time we also gave some informa'
tion on the work. Those who acquired the Decca
disc need not feel sorry for their choice. Those who
are yet to acquire it will do well to compare the
Urania and the Decca discs, particularly as to which

* Indicates LP S3 1/S nan.
0 indicates 45 nan.

H. ROYER SMITH COMPANY

PAGE 2

JANUARY

The New R ecords

1954

reproduction sounds best on their phonographs. The
SPA disc can be quickly forgotten, as it is a plodding
performance, seemingly lacking in drive and inspira-
tion, played with rough edges, and generally giving
the impression of falling apart at the seams. It is
outclassed in every way by either of the others.

Urania’s reproduction is a brilliant piece of engi-
neering, and we mean that literally, for it has a
razor-edged definition and a stentorian dynamic
range. Their fortissimo effects are gigantic, yet sur-
prisingly clear and transparent. This includes the
recording of the Magnificat at the conclusion of the
work, sung by the women’s choir, which shows a fine
balance with the orchestra as well as a good quality
of tone.

Liszt wrote two endings to the symphony, one
soft and ethereal, the other brilliant and triumphant.
It is interesting to note that Sebastian, who gives so
much more vital and dramatic a reading than Adler,
uses the soft ending. In its way it is really more
dramatic than the walloping orchestral passages and
final Hallelujahs (sung by the chorus) which Adler
uses, even though he handles this part better than
anything else in his performance. Nevertheless,
Sebastian is a great conductor, whose records have
all maintained a good general level of excellence,
and we recommend his recording. Wallenstein’s per-
formance is worth comparing if you are really inter-
ested in this work. S.

Tchaikovsky — arr. Diaghileff: Aurora’s Wedding
(Ballet Suite) (complete). One and one-half sides,
and Tchaikovsky — trans. Stokowski: Humoresque,
Op. 10, No. 2. And Tchaikovsky — trans. Sto-
kowski: Solitude, Op. 73, No. 6. Leopold Sto-
kowski and his Symphony Orchestra. 1-12" disc
(*V-LM-1774) $5.72.

Tchaikovsky: Swan Lake Ballet Suite, Op. 20.
One side, and Tchaikovsky: Sleeping Beauty
Ballet Suite, Op. 60. Philharmonia Orchestra
conducted by Herbert von Karajan. 1-12" disc
( *ANG-3 5006TP) $4.95. 1-12" factory-sealed

disc (*ANG-35006) $5.95.

Tchaikovsky: Aurora’s Wedding (Act III of “The
Sleeping Beauty’’) (complete). One side, and
Gounod: Faust — Ballet Music. Royal Opera House
Orchestra, Covent Garden, conducted by War-
wick Braith waite. 1-12" disc (*MGM-E-3052)
$4.85.

Tchaikovsky: Francesca da Rimini, Op. 32. Sym-
phony Orchestra of Radio Leipzig conducted by
Ernest Borsamsky. One side, and Tchaikovsky:
Romeo and Juliet (Ouverture-Fantasia). Sym-
phony Orchestra of Radio Leipzig conducted by
Jose Eibenschutz. 1-12" disc (*UR -URRS-7-22)
$3.50.

About the three ballet recordings in this group,
one thing, at least, is clear: for most folks the Angel
record is the best buy because of the couplings. It is

the only LP that offers the popular suites from the
two most popular ballets by Tchaikowsky (excepting
Nutcracker), Sleeping Beauty and Swan La\e, with
all their beguiling charm and melodic beauty. Von
Karajan and the fine Philharmonia Orchestra extract
all the loveliness from these scores in superbly
phrased and gently relaxed performances which are
captured in full, rich fidelity. This is a disc to be
highly recommended to those who do not wish the
complete versions of these works (each occupies two
LP discs in the complete version).

Aurora s Wedding is described differently by every
annotator, and we are not quite sure, at this point,
just what it is; but it is something like this: the third
act of The Sleeping Beauty. It seems that the com-
plete Sleeping Beauty takes about three hours to
perform, and in its early days was not financially
feasible, so Diaghileff salvaged some of the numbers,
mostly from the final act, and welded them into a
one-act fantasy called Aurora's Wedding. As the
Sadler’s Wells now presents it, it is the full-length
version of the third act of Sleeping Beauty. Both
of these recordings contain the same music (each is
labelled “complete”), although the labelling of the
RCA Victor disc is more inclusive. The one by
Sadler’s Wells’ own orchestra, Covent Garden, is
a splendid performance, and is coupled with an
idiomatic performance of the Faust Ballet Music.
Stokowski offers more of a concert performance,
which is to say a less measured reading, freer and
with more interpretive liberties, and Stokey indulges
himself with many striking effects. The reproduction
is of RCA’s best “New Orthophonic” variety, more
revealing than the MGM, which is good, if not quite
as wide range as RCA.

The Urania disc presents a pair of uninspired
performances of which the catalogs list much more
interesting LP’s of each of these works. S.

Beethoven: Symphony No. 3 in E-flat, Op. 55

(“Eroica”). Philharmonia Orchestra conducted by
Herbert von Karajan. 1-12" disc (*ANG-35000
TP) $4.95. 1-12" factory-sealed disc (*ANG-
35000) $5.95.

Beethoven: Symphony No. 3 in E-flat, Op. 55

(“Eroica”). Vienna Philharmonic Orchestra con-
ducted by Wilhelm Furtwangler. 1-12" disc
(*V-LHMV-1044) $5.95.

The day this review was written, an article ap-
peared in The Billboard telling of a civil court ruling
in Paris which ordered Urania to remove the name
of Furtwangler from a recording of the Eroica, sup-
posedly made by Furtwangler in a German studio in
1944. Furtwangler brought the suit because he
claimed he could not recognize the performance as
his own. We mention this,- because it presumably
deals with the disc which was one of five Eroica
recordings which we reviewed in the October 1953
TNR. There can be no doubt that the present disc
is conducted by Furtwangler, and there is little doubt

• indisatsa UP Ml/S rM.

0 Indicates 45 rpm.

PAGE 3

H. ROYER SMITH COMPANY

JANUARY

1954

The New Records

that it is a better example of the conductor's art
than the Urania disc (which did not find favor in
these columns). One noticeable difference is the
tempo of the third movement which (as reported in
October) Furtwangler took at 116; the present disc
shows a more typical Furtwangler tempo of 108.

With twenty Eroicas now listed in the LP cata*
logs, these two new ones are indeed difficult to
evaluate by comparison. Of those conductors who
take the tempi on the brisk side, von Karajan is in
their camp; while Furtwangler belongs to the group
who favor slower tempi and more individual shaping
of the phrases, resulting in more dramatic readings.
Von Karajan's reading is of the Leinsdorf and
Toscanini order, and he enjoys by far the best
reproduction of these three — better than most of the
rest of the recordings available. The reproduction
of the Furtwangler disc is splendid, a little smoother
than the Horenstein recording, which we admired
so much before. We still think Horenstein is the
most deeply felt and dramatic reading, the best
listening experience of the whole lot. Those who
take exception to this opinion (and there is a re'
spectable number who do), will do well to invest i'
gate the von Karajan disc, for it is beauty of its
kind, and one which we heartily respect if not
prefer. Admirers of Furtwangler will find his disc
one of his great recordings, and a masterly effort in
its own right. And now your harried reviewer begins
the new year with a fervent prayer for no more
Eroica recordings. S.

Wagner: Tristan und Isolde (excerpts). One side,
and Wagner: Die Gotterdammerung — Siegfried's
Funeral Music. Philadelphia Orchestra conducted
by Eugene Ormandy. And Wagner: Die Gotter-
dammerung — Immolation Scene. Margaret Har'
shaw (soprano) with the Philadelphia Orchestra
conducted by Eugene Ormandy. 1'12" disc (*C'
ML'4742) $5.95.

Wagner: Tannhauser — Overture fe? Venusberg
Music. One side, and Wagner: Der fliegende
Hollander — Overture. And Wagner: Die Wal-
kiire — The Ride of the Valkyries. Vienna Phil'
harmonic Orchestra conducted by Hans KnappertS'
busch. M2" disc (*L'LL'800) $5.95.

Wagner: Lohengrin — Preludes to Acts I & III.
And Wagner: Die Meistersinger — Prelude. One
side, and Wagner: Tannhauser — Overture. And
Wagner: Die Walkikre — Ride of the Valkyries.
Detroit Symphony Orchestra conducted by Paul
Paray. M2" disc (*ME'MG'50021 ) $5.95.

With these three excellent LP discs, Wagnerian
music lovers have a rare feast in store for them. Of
especial interest is the Philadelphia Orchestra disc
which contains most of the music from a recent
Wagnerian program that packed the Academy of
Music in Philadelphia for three concerts. Margaret
Harshaw's Immolation Scene is superb and will
take its deserved place with outstanding recordings

of this year. ... We were also well impressed
with the Vienna Philharmonic and the Detroit
Symphony recordings under Knappertsbusch and
Paray and do not hesitate to state that they are
well worth investigation.

Rimsky-Korsakov: Capriccio espagnol, Op. 34.

Symphony Orchestra of Radio Leipzig conducted
by Rolf Kleinert. One side, and Lalo: Symphonie
espagnole, Op. 21. Ferdinand Meisel (violin)
with the Symphony Orchestra of Radio Berlin
conducted by Walter Schartner. 1-12" disc (*UR'
URRS'7'13) $3.50.

Rimsky-Korsakov: Le Coq d’Or — Suite. One and
one'half sides, and Rimsky-Korsakov: Capriccio
espagnol, Op. 34. L'Orchestre de la Suisse Ro'
mande conducted by Ernest Ansermet. M 2" disc
(*L'LL'694) $5.95.

Rimsky-Korsakov: The Tale of the Czar Sultan
Suite, Op. 57. One side, and Rimsky-Korsakov:
Le Coq d’Or — Suite. Philharmonia Orchestra
conducted by Issay Dobrowen. M 2" disc (*ANG'
3 5010TP) $4.95. M 2" factory'sealed disc

(*ANG'35010) $5.95.

The Urania Request Series record listed above is,
at the $3.50 price, a good buy. It costs about 70%
more to get Campoli, Heifetz, or Menuhin doing the
Lalo violin work. The cost is also more to get Ansei'
met, Paray, or their calibre doing this Capriccio
espagnol. Therefore, it is up to the one doing the
buying to decide whether it is worth it or not; and
to consider also the couplings involved and the
quality of reproduction. Urania's reproduction in
both these works is exceptionally brilliant, to the
point where we thought it strident. The perform'
ances are good, if not outstanding, and at the price
it is a worthwhile addition to the catalogs.

The Ansermet disc has a more beautifully deline'
ated reading of the Capriccio espagnol than the
Urania. Ansermet, in both the works on this disc,
gives one of his typical performances, excelling in
very carefully adjusted dynamics. There is a clarity
and logic, combined with a subtleness and musicianly
approach, that distinguish his music making among
the best conductors of our day. Whether or not his
finesse results in the best performance of music as
flambuoyant as Rimsky'Korsakov’s is a question
posed as soon as one hears a disc such as Dobrowen's.
Dobrowen is not the finegrained artist that Anser'
met is, but Dobrowen's account of the Coq d'Or
Suite is a stunning job. We did not mean to infer
above that Dobrowen indulges in coarse or rough'
hewn playing; quite the contrary, his orchestra is
magnificent and the solo work throughout is superb.
But Dobrowen paints the Coq d'Or picture with
bolder and firmer strokes, and the results are some'
thing for the ear to enjoy. We must also admit that
the reproduction accorded this music by Angel is a
fuller and richer tapestry than London has achieved.
Dobrowen continues the good work with a broadly

* indicates LP S3 1/8 rpm.
0 indicates 45 rpm.

H. ROYER SMITH COMPANY

PAGE 4

JANUARY

T he Ntfzo R ecords

1954

paced reading of the Czar Sultan Suite, with the
same fine reproduction. We are impressed by this
record, and name it the best of the three under con'
sideration, even though we acknowledge the admir'
able artistry of Ansermet. S.

Brahms: Symphony No. 3 in F, Op. 90. Vienna
Philharmonic Orchestra conducted by Karl Bohm.
M2" disc (*L'LL'857) $5.95.

Of the dozen LP recordings now in the catalog
of the Brahms Third, we can say without exception,
reservation, or other pussyfooting around that this
is by all odds the best. We doubt that anyone would
deny that it is the best sounding one from the stand'
point of reproduction. It is a top'notch London
recording, which makes it mighty good by today's
best standards. There is a richness and bloom to the
full orchestral sound which is not only beautiful, but
becoming to the nature of the music; the string tone
is notably fine too. And we would also doubt that
anyone could overlook the superlative orchestral
playing by the Vienna Philharmonic. Lately we have
felt that some of the records by this distinguished
orchestra were just not quite up to their usual high
level, but in this recording they are as glorious as
ever. There is a magnificent precision and discipline
combined with a roundness and almost relaxed play'
ing that is usually referred to as “in the Viennese
tradition" because no one can quite describe in
words this wonderful style of playing. It is here in
full measure, and it is a pleasure to hear through
every minute of the record.

As for Bohm’s interpretation, we think it is one
of the best things he has done. The first and last
movements are not the easiest things to make hang
together; Bohm has complete success with them and
that goes a long way toward making this such a
great performance. His tempo in the third move'
ment is on the slow side, but it reveals much lovely
orchestral playing and most persons will not feel
that it is unduly slow. His command of the orches'
tra, without making the result brittle, is probably
his greatest achievement, and the final result is com'
pletely satisfying; in fact, it is thrilling. S.

Bartok: Concerto for Orchestra. Philharmonia Or'
chestra conducted by Herbert von Karajan. M2"
disc (*ANG'35003TP) $4.95. M2" factory'

sealed disc (*ANG'35003) $5.95.

Bartok’s fascinating Concerto for Orchestra now
appears in its third LP version. We believe most of
his followers will prefer this to either of the previous
versions. It is the best reproduction, for those to
whom that is a paramount factor. Von Karajan and
the virtuoso Philharmonia Orchestra offer a perform'
ance that is superior to any we ever recall hearing
of this great work.

The work is in five movements; it is similar to a
symphony with two scherzos. Bartok admitted the
dual nature, symphonic and concertante, of the
piece: “The title of this symphonydike orchestral

work is explained by its tendency to treat the single
instruments or instrumental groups in a concertante
or soloistic manner." He also said of the work gen'
erally that its “general mood . . . represents, apart
from the jesting second movement, a gradual transi'
tion from the sterness of the first movement and the
lugubrious death song of the third, to the life asser'
tion of the last one."

While the music is interesting in each movement,
many persons are attracted to the last movement,
which is built on a sort of moto perpetuo which is
designed to display the virtuosity of the string sec'
tion. A series of fanfare subjects offer contrast and
a brilliant subject for trumpet and make this exciting
music and a glorious finale. The Concerto for Or'
chestra is probably destined to be Bartok’s most
popular work, and will definitely find a place high
on the list of contemporary works which will remain
in the repertoire for many decades. It was commis'
sioned by Serge Koussevitzky and composed in the
autumn of 1943. S.

Rimsky-Korsakov: Scheherazade, Op. 35. Orchestra
of the Vienna State Opera conducted by Argeo
Quadri. M2" disc (*WEST'WL'5234) $5.95.

Rimsky-Korsakov: Scheherazade, Op. 35. Symphony
Orchestra of Radio Berlin conducted by Karl
Rucht. M2" disc (*UR'URRS'7'19) $3.50.
These two Scheherazades are numbers fifteen and
sixteen and this reviewer, in trying to recall different
performances, recording techniques, etc., had a re'
currence of a feeling he had as a small boy when
he stayed on the merry'go'round too long.

For a really lush version, particularly as regards
recorded sound, the Westminster issue would be
hard to beat although the earlier Mercury recording
with Dorati was a stunning job. Quadri’s conception
of the score is different from the usual in that he
stresses the musical and poetic rather than the dra'
matic and exotic elements of the work. This is most
noticeable in the second section The Tale of the
Prince Kalander. The overall effect, to one accus'
tomed to the Stokowski or Ormandy treatment, will
seem a little tame at first but it has a tendency to
grow on one.

Urania's bargain version is also an acceptable, if
more conventional reading. The sound is quite good
in spots, less satisfactory in others. As is most always
the case, you get what you pay for — no more, no
less.

This reviewer would be hard put to choose be'
tween the Quadri and Dorati discs either from the
standpoint of recorded sound or interpretation. As
to the other thirteen in the Schwann catalog, the
only notable ones are those of Monteux, Stokowski
and Ormandy and, of course, each of these will
have its adherents.

For those who do not have a copy of Rimsky'
Korsakov's musical tale of oriental splendor and
adventure, it is suggested they listen to the Dorati

PAGE 5

H. ROYER SMITH COMPANY

indicates LP 33 1/3 rpm.
0 indicates 45 rpm.

JANUARY "The Ntfw R ecords

1954

and Quadri recordings and forget the rest, unless
price is an important factor, in which case, the
Urania set is well worth investigating. There are
notes with the Westminster release, none with the
Urania. W.

Glinka: Russian and Ludmilla — Suite. London
Symphony Orchestra conducted by Anatole Fistou'
lari. One side, and Berlioz: Les Troyens — Suite.
Lamoureux Orchestra conducted by Jean Mar'
tinon. M2" disc (*MGM'E'3053) $4.85.
CONTENTS: Overture ; Oriental Dances (“Lesz'
ghinka”); Fairy Dances; March of the Wizard (from
“Russian and Ludmilla"). Overture; Royal Hunt
and Storm; Ballet Music; Trojan March (from “Les
Troyens”).

Glinka: Russian and Ludmilla — Overture. And
Borodin: On the Steppes of Central Asia. And
Moussorgsky: Night on Bald Mountain. One
side, and Prokofiev: Symphony No. 1 in D, Op.

25 ( “Classical” ). L’Orchestre de la Societe des
Concerts du Conservatoire de Paris conducted by
Ernest Ansermet. M2" disc (*L'LL'864) $5.95.

Prokofiev: Symphony No. 1 in D, Op. 25 (“Classi'
cal”). And Dukas: L’Apprenti sorcier. One side,
and Falla: El Sombrero de Tres Picos — Suite.
And Ravel: La Valse. Philharmonia Orchestra
conducted by Igor Markevitch. M2" disc (*ANG'
35008TP) $4.95. M 2" factory'sealed disc

(*AG'35008) $5.95.

If ever one man could have been said to have
influenced both Russian and French music, Berlioz
is that man. He took two extended trips to Russia,
the first in 1847 and the last in 1867. On both
occasions he left an indelible impression on its
musical life both with his music and his conducting,
not to mention the decided impact made by his
forceful but gentlemanly personality.

It is entirely possible that Glinka, who was Ber'
lioz’ exact contemporary, could have heard some
of the 1847 concerts; thus the coupling of the MGM
disc is a happy one. The music from Berlioz' Les
Troyens is well played and fairly well recorded.
Glinka's Russian and Ludmilla survives only because
of its sparkling overture but, as this disc demon'
strates, the rest of the score is on an equally high
plane and is, consequently, most attractive.

The real gem of the three records listed above,
however, is the Ansermet on London. Here is a
very clever and logically presented program of Rus'
sian music. The Prokofiev work is a model of orches'
tral playing and interpretation — it is puckish, grace'
ful, and stylistically perfect. These same attributes
are found in the other pieces on the obverse side.
War horses all, but played and recorded in a manner
that fairly takes one's breath away.

There remains the Angel record. It also includes
the Classical Symphony in a faster version, less
carefully worked out but played with plenty of

bravura. Its companion pieces are, in one writer’s
opinion, less appropriate musically but more logical
chronologically — take your choice. They are well,
if not too spectacularly played. Unfortunately, some
of them depend on sensational performances to make
their effects! The Angel reproduction is good, ah
though quite different from the London “close up”
technique. This becomes a matter of personal taste
so little or nothing need be said about it. There are
notes, good ones, supplied with all except the $4.95
Angel “Thrift Package.” W.

Walton: Facade Suite. Philharmonia Orchestra con'
ducted by Constant Lambert. One side, and Elgar:
Wand of Youth Suite No. 1, Op. la. Liverpool
Philharmonic Orchestra conducted by Sir Malcolm
Sargent. M2" disc (*C'ML'4793) $5.95.

Here are fine renditions of two works by English
composers that are reasonably popular with Ameri'
can audiences. There are other recordings of them
in the LP catalogs, but because the present appro'
priate coupling and merit of the performances we
would highly recommend the Columbia disc listed
above.

Mozart: Symphony No. 39 in E-flat, K. 543. Lon'
don Philharmonic Orchestra conducted by Felix
Weingartner. One side, and Mozart: Serenade
in G, K. 525 (“Eine kleine Nachtmusik”). Lon'
don Symphony Orchestra conducted by Felix
Weingartner (TNR Mar. ’41). And Haydn:
"Toy” Symphony. British Symphony Orchestra
conducted by Felix Weingartner. M2" disc
(*C'ML'4776) $5.95.

Brahms: Variations on a Theme by Haydn, Op.

56a (“St. Antoni Chorale”). London Philhar'
monic Orchestra conducted by Felix Weingartner.
One side, and Bach: Suite No. 3 in D. L'Orches'
tre de la Societe des Concerts du Conservatoire
de Paris conducted by Felix Weingartner. M2"
disc (*C'ML'4783) $5.95. (TNR Apr. ’39 6?
Jan. ’41).

Strauss: (4) Waltzes. Orchestras conducted by Felix
Weingartner. M2" disc (*C'ML'4777) $5.95.
CONTENTS: On the Beautiful Blue Danube
(TNR Oct. ’38); 1001 Wights (TNR May ’39);
Voices of Spring (TNR May ’39); Wine, Women
and Song (TNR Oct. ’41).

All of the above discs are reissues from 78 rpm
records. The Mozart 39 th was issued in England,
but never was issued in America; we should not
choose it over Beecham’s fine version (*C'ML'4674).
This disc will therefore appeal only to Weingartner
fans. The same must also be said for *C'ML'4783;
Toscanini has a better Haydn Variations (*V'LM'
1725) and Reiner’s new recording of the four Bach
Suites for Orchestra, reviewed in this issue, should
leave little demand for an isolated recording of
Suite Wo. 3.

And, really, Columbia! Do you expect a body

* Indicates LP S3 1/3 rpm.
0 Indicates 46 rpm.

H. ROYER SMITH COMPANY

PAGE 6

JANUARY

The New Records

1954

to pay $5.95 for 13' to 15'year old recordings of
Strauss Waltzes?

Mozart: Symphony No. 35 in D, K. 385 (“HafL
ner"). One side, and Mozart: Symphony No. 36
in C, K. 425 (“Linz"). London Philharmonic
Orchestra conducted by Sir Thomas Beecham.
M2" disc (*OML'4770) $5.95. (TNR Apr. ’40
6? Dec. '39).

Haydn: Symphony No. 4 in D (“London"). One
side, and Schubert: Symphony No. 5 in B-flat.

London Philharmonic Orchestra conducted by Sir
Thomas Beecham. LI 2" disc (*C'ML'4771)
$5.95. (TNR July '40 6? June '39).

Mozart: Symphony No. 34 in C, K. 338. One side,
and Mozart: Symphony No. 29 in A, K. 201.

London Philharmonic Orchestra conducted by Sir
Thomas Beecham. LI 2" disc (*OML'4781)
$5.95. (TNR July '44 & Aug. '38).

We suppose that there are many admirers of Sir
Thomas, who may have the above recordings on
78 rpm, who would like to replace them with LP's
for one reason or another. If so, they are now avail'
able. We rather think that persons seeking record'
ings of these works would prefer more modern re'
production, although there's no denying that Beecham
is certainly in his element in this music.

We have but one quarrel with Columbia here.
Sir Thomas is still living; and apparently Columbia
can profitably issue new Beecham records at $5.95.
Then why charge $5.95 for a reissue? We think
that these discs should have been placed on the
“Entre" series (at $2.98!). Our point is that if a
1953 recording of Beecham is worth $5.95, then a
1938 one, no matter how fine the performance,
is not.

Brahms: (7) Hungarian Dances. One side, and
Dvorak: (4) Slavonic Dances. Hamburg Radio
Symphony Orchestra conducted by Hans Schmidt'
Isserstedt. L12" disc (*L'LL'779) $5.95.
CONTENTS: Hungarian Dances 7<Los. 1 in G
minor, 2 in D minor, 3 in F, 5 in F'sharp minor,
6 in D'flat, 7 in A ,10 in F; Slavonic Dances Op.
46, Hos. 1, 2, 3; Slavonic Dance Op. 72, K[o. 16.
Brahms: (9) Hungarian Dances. Berlin Philhar'
monic Orchestra conducted by Paul van Kempen.
L10" disc (*D'DL'4078) $2.50.

CONTENTS: Hungarian Dances 7<[os. 1 in G
minor, 3 in F, 5 in G minor (trans. from F'sharp
minor), 6 in D (trans. from D'flat), 17 in A (trans.
from F'sharp minor), 18 in D, 19 in B minor, 20
in E minor, 21 in E minor.

If it is the Brahms Hungarian Dances you are
interested in, we suggest that you choose the Decca
recording. It may not be quite as good as the
London version but the London recording is cer'
tainly not worth twice the price. We are judging
this pair of discs from an economical angle.

Bach: (4) Suites for Orchestra. RCA Victor Or'
chestra conducted by Fritz Reiner. 2' 12" discs in
box (*V'LM'6012) $11.44.

We cannot see how lovers of the immortal Johann
Sebastian can help being mighty enthusiastic about
this superb pair of discs. It makes a perfect package
with one suite on each of the four sides of these
LP records. Fritz Reiner has been afforded a fine
orchestra, and with his genius for perfection he has
spared no pains to produce renditions that call for
the highest praise.

We bespeak for this fine album your earnest
consideration. Alfred Frankenstein has supplied a
booklet of excellent and illuminating notes.

Black Magic. Andre Kostelanetz and His Orchestra.
LI 2" disc (*C'ML'4741) $5.95.

CONTENTS : That Old Blac\ Magic; Mad About
the Boy; Our Waltz; Little Girl Blue; Some Day;
Out of This World; Easy To Love; Limehouse Blues.

Kostelanetz has selected a group of popular songs
that have stood the test of time and given them his
magic touch on the present LP disc. His many
admirers will certainly want to add this one to their
collection of Kostelanetz recordings.

Brahms: Concerto No. 1 in D minor, Op. 15.

Clifford Curzon (piano) with the Concertgebouw
Orchestra of Amsterdam conducted by Eduard
van Beinum. L12" disc (*L'LL'850) $5.95.

Beethoven: Concerto No. 4 in G, Op. 58. Artur
Schnabel (piano) with the Philharmonia Orches'
tra conducted by Issay Dobrowen. LI 2" disc
(*V'LCT'1131) $5.72. (TNR Sept. '47).

The Brahms first piano concerto has long been
regarded as a forbidding piece of music; and in this
performance, excellent though it is, this impression
remains. The austerity of the work is not so much
the result of inner discipline, one feels, as it is a
plain lack of congeniality or absence of grace. Per'
haps its hybrid conception (it was first conceived
as a piano sonata then as a symphony) has some'
thing to do with its angularity and essential barren'
ness. The annotator of the jacket notes admits “(it)
may be a difficult musical friend to win" and goes
on to state that it is well worth the winning. This
latter part of his statement may or may not be so.

The performance is a sumptious one. Both van
Beinum and Curzon are at concert pitch and the
resultant sound, fervor and excitement have been
superbly captured by London's engineers. It would
be difficult to imagine a more stirring recording and
admirers of this concerto n£ed look no further for
the best presentation of the work on discs.

The late Arthur Schnabel was famous for his
Beethoven performances and this, redssue on an LP
disc will gratify the many admirers of his art. The

PAGE 7

H. ROYER SMITH COMPANY

indicates LP 381/3 rpm.
0 indicates 45 rpm.

JANUARY

The R ecords

1954

Beethoven concerto needs no extended remarks here,
nor does Schnabel’s playing. Both are familiar and
it will suffice to say that in the transfer to LP the
sound of the original 78's seems to improve in
quality. The net result, however, is not as good as
a modern, first class LP (such as the Westminster
recording of the same work by Badura'Skoda) but
neither does it make any undue demands on the
listener’s aural charity.

This reviewer was saddened to learn, a short while
ago, of Issay Dobrowen’s untimely death. Thus the
disc takes on an added melancholy, for Dobrowen
was an excellent musician. His greatest recorded
performance was, undoubtedly the magnificent Boris
Godounov made only a year or so ago for HMV.

W.

Ravel: Concerto in G. Marguerite Long (piano)
with l’Orchestre de la Societe des Concerts du
Conservatoire de Paris conducted by Georges
Tzipine. One side, and Faure: Ballade, Op. 19.
Marguerite Long (piano) with l’Orchestre de la
Societe des Concerts du Conservatoire de Paris
conducted by Andre Cluytens. IT 2" disc (*ANG'
35013TP) $4.95. M2" f actory'sealed disc
(*ANG'35013) $5.95.

Ravel: Concerto in D for the Left Hand Alone.

One side, and Ravel: Concerto in G. Jacqueline
Blancard (piano) with l’Orchestre de la Suisse
Romande conducted by Ernest Ansermet. LI 2"
disc (*L'LL'797) $5.95.

The name of Mme. Long has long been associated
with the music of Ravel and Faure; the Concerto
in G is dedicated to her, and her performances are
always considered authentic interpretations. This
fact, along with the good reproduction Angel has
supplied would seem to indicate that the Angel
record would be the preferred disc. After hearing
the Angel and the London discs, one is aware that
the foregoing is altered by the presence of Ansermet,
who conducts the orchestra on the London disc.
Cluytens and Tzipine do fine work, but Ansermet
is on another, and higher, plane entirely. We doubt
that anyone has ever heard more superlative orches'
tral performances of the Ravel scores than Ansermet
turns in. His unique sense of dynamics and shadings
of tone is applied with all the finesse at his com'
mand, and they serve this music just perfectly.
London has captured the delicacy of this exceptional
music making in its best fashion, which reveals
every nuance ever so beautifully. Jacqueline Blancard
performs with an inspiration, at least some of which
was radiated by the conductor. She is a fine pianist,
and her readings contribute to the stature of this
disc;

Ravel worked at both his piano concertos together.
The one for two hands he regarded as a divertisse'
ment, but then, as he tells us, it is in the Mozartean
manner, if not in the idiom of the eighteenth cen'
tury, and he decided that the word concerto was

fittest to describe it. The concerto for left hand
brought its own problems, mainly those of tone'
weight. It was not Ravel’s purpose to show what the
left hand can do so much as to prove what can be
done for the left hand. Such technical tests were
meat and drink to him and the result here is a
triumph of technique. These illuminating facts are
from the fine notes on the London jacket, written
by H. G. Sear, which will aid your enjoyment of
this great music. S.

Beethoven: Concerto in D, Op. 61. Bronislaw
Hubermann (violin) with the Vienna Philhar'
monic Orchestra conducted by George Szell. IT 2"
disc (*C'ML'4769) $5.95.

Mendelssohn: Concerto in E minor, Op. 64.

Joseph Szigeti (violin) with the London Phil'
harmonic Orchestra conducted by Sir Thomas
Beecham. 1T0" disc (*C'ML'2217) $4. (TNR
Mar. ’34).

Beethoven: Concerto in C, Op. 56 (“Triple”).
Ricardo Odnoposoff (violin), Stefan Auber (vio'
loncello) and Angelecia Morales (piano) with the
Vienna Philharmonic Orchestra conducted by
Felix Weingartner. 1T0" disc (*C'ML'2218) $4.
(TNR June ’38).

Three more reissues from 78’s this month, the
Beethoven Concerto having been released only in
England, never in U. S. A., previously. Hubermann
is a pretty fine fiddler; but we see no particular need
to b